Danny Boyle

Michael Radford

Arrested Development—one of the greatest comedies in the history of television—went out in a blaze of glory. The truncated final season packed more biting humor per minute than ever before. In only 13 episodes, dozens of intertwining storylines spun in all directions: In addition to the overarching story about the fractious infighting of the Bluth family and the family's housing development company being investigated for treason in Iraq (a plot arc that comes to a dazzlingly surreal conclusion), the put-upon "good son" Michael Bluth (Jason Bateman, Teen Wolf Too) pursues romance with a lovely British woman (Charlize Theron, Monster) who turns out to be woefully inappropriate; swaggering magician Gob (Will Arnett, Monster-In-Law) flees from his newly-discovered teenage son while still pandering for the affection of his self-absorbed father (Jeffrey Tambor, The Larry Sanders Show); flighty Lindsay (Portia de Rossi, Ally McBeal) and her sexually blurry husband Tobias (David Cross, Mr. Show) both get the hots for the family's new lawyer, Bob Loblaw (Scott Baio, Charles in Charge); and much, much more.

It's difficult to describe what makes Arrested Developmentso brilliant. The ensemble is uniformly superb (Jessica Walter, as the family's boozing, scheming matriarch, is particularly devastating this season) and the surprising guest stars (including Andy Richter, James Lipton, Justine Bateman, and many others) are perfectly cast; the characters' abominable behavior defies conventional television notions of "likability", yet they only grow more endearing the more you watch; the humour embraces wild slapstick and sharp satire, often within a single scene; and the nimble documentary style allows for sly glancing references to jokes and scenes from long-past episodes, rewarding devoted fans. But the key is that, no matter how screwball Arrested Developmentbecomes, the show offers a rich, textured, and wonderfully coherent world in which these characters feel genuine, a world completely unlike the flat, plastic simulacrum offered by the average sitcom. Arrested Developmentwas true to itself to the end. Its followers will cherish it forever. —Bret Fetzer

Phil Alden Robinson Richard Loncraine A genuinely epic achievement, the 10-part World War II drama Band of Brothersis a television series that makes big-screen Hollywood war movies look small in comparison. Based on the book by historian Stephen Ambrose, the series follows the US 101st Airborne Division's "Easy" E-Company from initial training through D-Day and across Holland, Belgium, Germany and Austria until the end of the war. Coproduced by Steven Spielberg and Tom Hanks, the series take its initial inspiration from Saving Private Ryanand borrows that film's visceral visual approach to combat scenes using hand-held camerawork and de-saturated photography. But where Band of Brothersexcels is in its scrupulous attention to the realities of military life (retired US Marine Captain Dale Dye, who also co-stars, is the man to credit).

After the high drama of the parachute drop on D-Day, Easy's greatest trial comes during the Battle of the Bulge, when they are besieged at Bastogne in the depths of winter. In one of the most harrowing and credible depictions of war ever committed to film we see the men enduring the repeated artillery attacks of the German forces and experience, if only vicariously, some of the sheer terror of the assault, while being humbled by the soldiers' courage and determination. Such feelings are enhanced by the series' masterstroke—bookend interviews with the surviving members of Easy Company, who talk with barely suppressed emotion of the experiences we see recreated. The endorsement of these veterans elevates Band of Brothersbeyond any mere "war film"—its extraordinary achievement is that it shows the horror and savagery of war without gloss or jingoism, and yet celebrates the fraternal bonds and dogged heroism of the men who fought.

On the DVD:Band of Brothersarrives handsomely packaged in a six-disc box set with two episodes on each of the first five discs. Sound (Dolby 5.1) and picture (1.78:1 widescreen) only enhance the series' epic credentials. Disc 6 contains all the extras, the meatiest of which is the marvellous 80-minute documentary "We Stand Alone Together" about the real men of Easy Company. There's also a first-rate, genuinely interesting 30-minute "making of" feature about actor boot camp, visual effects and blowing up fake trees among many other things. This is complemented by actor Ron Livingston's revealing Video Diaries of boot camp. Additionally there's a "Who's Who" section and footage of the HBO premiere at Utah Beach, plus a TV spot for car company Jeep. —Mark Walker

Morgan Freeman, Liam Neeson, Christopher Nolan Christian Bale, Michael Caine, Liam Neeson, Katie Holmes, Gary Oldman, Cillian Murphy.Christopher Nolan (Director)

Kinji Fukasaku With the Japanese currently leading the way in thought-provoking cinematic violence, it's only fitting that Kinji Fukasaku's Battle Royaleis being touted as A Clockwork Orangefor the 21st century. Based on the novel by Koshun Takami, the film opens with a series of fleeting images of unruly Japanese schoolkids, whose bad behaviour provides a justification for the "punishments" that will ensue. Once the prequel has been dispensed with, the classmates are drugged and awaken on an island where they find they have been fitted with dog collars that monitor their every move. Instructed by their old teacher ("Beat" Takeshi) with the aid of an upbeat MTV-style video, they are told of their fate: after an impartial Lottery they have been chosen to fight each other in a three-day, no-rules contest, the "Battle Royale". Their only chance of survival in the "Battle" is through the death of all their classmates. Some pupils embrace their mission with zeal, while others simply give up or try to become peacemakers and revolutionaries. However, the ultimate drive for survival comes from the desire to protect the one you love. Battle Royaleworks on many different levels, highlighting the authorities' desperation to enforce law and order and the alienation caused by the generation gap. Whether you view the film as an important social commentary or simply enjoy the adrenalin-fuelled violence, this is set to become cult viewing for the computer-game generation and beyond.

On the DVD:Battle Royalecomes out fighting in a special edition format only a few months after the initial DVD release became cult viewing. But don't get too excited about the new cut of the film, only a few additional scenes have been added and the alternate ending simply offers a series of Requiem sequences. Disc 2 contains a whole heap of behind-the-scenes footage and interviews, unfortunately many of these tend to repeat material. The Q&A with the cast (in full costume) and the director is repeated in the Tokyo Film festival. The special effects comparison feature is a case of "spot the difference" the S-FX hardly being in the Star Warsleague and the instructional video on how to direct a film proves that the DVD makers have tried to grasp irony and failed. The disc also includes trailers and text filmographies for "Beat" Takeshi and director Kinji Fukasaku along with a written statement by the master of extreme cinema. Lacking in commentary and substance this DVD is redeemed by a superior sound and visual print to its predecessors. —Nikki Disney

Despite voluminous protest and nitpicking criticism from loyal fans of the original TV series (1978-80), the 2003 version of Battlestar Galacticaturned out surprisingly well for viewers with a tolerance for change. Originally broadcast on the Sci-Fi Channelin December 2003 and conceived by Star Trek: The Next Generationalumnus Ronald D Moore as the pilot episode for a "reimagined" TV series, this four-hour mini series reprises the basic premise of the original show while giving a major overhaul to several characters and plot elements. Gone are the flowing robes, disco-era hairstyles, and mock-Egyptian fighter helmets, and thankfully there's not a fluffy "Daggit" in sight... at least, not yet. Also missing are the "chrome toaster" Cylons, replaced by new, more formidable varieties of the invading Cylon enemy, including "Number Six" in hot red skirts and ample cleavage, who tricks the human genius Baltar! into a scenario that nearly annihilates the human inhabitants of 12 colonial worlds.

Thus begins the epic battle and eventual retreat of a "ragtag fleet" of humans, searching for the mythical planet Earth under the military command of Adama (Edward James Olmos) and the political leadership of Laura Roslin (Mary McDonnell), a former secretary of education, 43rd in line of succession and rising to the occasion of her unexpected Presidency. As directed by Michael Rymer (Queen of the Damned), Moore's ambitious teleplay also includes newfangled CGI space battles (featuring "handheld" camera moves and subdued sound effects for "enhanced realism"), a dysfunctional Col. Tigh (Michael Hogan) who's provoked into action by the insubordinate Starbuck (Katee Sackhoff), and a father-son reunion steeped in familial tragedy. To fans of the original BGseries, many of these changes are blasphemous, but for the most part they work—including an ominous cliffhanger ending. The remade Galacticais brimming with smart, well-drawn characters ripe with dramati! c potential, and it readily qualifies as serious-minded science fiction, even as it gives BGloyalists ample fuel for lively debate. —Jeff Shannon

Felix Enriques Alcala The revival of Battlestar Galacticahas proven not just to be a roaring success with viewers, but one of the most critically-acclaimed science-fiction series too. Battlestar Galactica: Razor's place is as an introduction to the events that take place in the fourth season of the show. Yet it's also a terrific feature-length TV movie in its own right.

The story of Battlestar Galactica: Razoractually focuses quite a lot on a different Battlestar, the Pegasus. Throughout the movie, we see it under the command of the love-to-hate Admiral Helena Cain, while we also follow Lieutenant Kendra Shaw under her tutelage, and Lee Adama's first mission in charge of the Pegasus.

Naturally too, Battlestar Galactica: Razorisn't shy of Cylons, as we see them in the infancy of their attack on humankind. And all of these ingredients make for some interesting back story to the main show, and a great one-off piece of entertainment too. It doesn't pull its punches when it comes to the action sequences, and there's some worthwhile character work in there too.

While clearly intended as an appetite-whetter for the fourth season of Battlestar Galactica, Razornonetheless has enough in the tank to more than hold its own. It proves to be yet another example as to why Battlestaris the show that's been topping science fiction fans' favourites lists for some time. —Jon Foster

Michael Rymer Let's get straight to the point: bar none, Battlestar Galacticais the best science fiction television programme currently showing. In fact, let's go further. It's the best of the last decade. And truthfully? You'd find very few sci-fi fans who'd disagree.

What's more, plenty of people must be busy eating their words, too. Back when it was announced that Battlestar Galacticawas being revived, feelings were mixed, not helped by the divided reaction to the mini-series that kickstarted this iteration of the show. Yet over the past couple of years, it's cleverly proven to be a tense, gripping mix of action and drama, with a tightly-woven plot.

This third season? It's arguably the best so far. A delicious soup of mystery, relevations, actions, striking characters and winding narrative, Battlestar Galacticais also served superbly well by a quality cast, some quality special effects, and a real focus on what matters from behind the camera.

As usual, there are no spoilers in this review, although it's not giving much away to say that the deadly cylons have to share the screen time with some intriguing and revealing character development this time round. And with word that season four of the revived Battlestar Galacticawill be the last, things are set up for a terrific final act.

Season three of the show though is extraordinarily good, a real, genuine sci-fi classic that's going to have one mighty shelf life once this particularly iteration of the programme has gone. And with umpteen surprises to go back and check out, it's never likely to be one to gather dust on the shelf, either. —Jon Foster

Michael Rymer

Surely in the running to be the best television series of the past decade, the stunning revival of Battlestar Galactica is perhaps only nudged out of first place by The Wire. But it’s a tight-run race, and across the four seasons in this collected box set, there’s some of the best science fiction television of all time.

Sadly, the fact that it’s a science fiction show on the exterior is likely to put some off Battlestar Galactica. It really shouldn’t. The writers superbly weave in politics, religion, action, and excellent character work, bringing together an outstanding company of actors. Edwards James Olmos and Mary McDonnell are the stand-outs, but there are so many performances of note, it’s hard to highlight too many more. It goes without saying, of course, that the majority of science fiction enthusiasts will be blown away by many of the collected episodes here.

And, bluntly, it’s a real treat to watch them in high definition. While perhaps the earlier episodes of Battlestar Galactica don’t look quite as striking as the later instalments, this is still a show with high production values that gleam in high definition. Cinematically shot and engrossing right through to its challenging ending, Battlestar Galactica is quality television, and it’s never looked better than it does on Blu-ray. —Jon Foster

Follow the progress of Rowan Atkinson's irredeemably wicked Edmund Blackadder throughout history in this complete box set of all four series—from the snivelling War of the Roses-era creep in the Shakespearean parody that was the first series, to his final and unexpectedly noble demise in the trenches of the First World War in Blackadder Goes Forth. In between, of course, we see Edmund at the court of giggly Queen Elizabeth I in Blackadder II, now transformed into the Machiavellian cad audiences came to love so well (thanks to a character overhaul from writing team Ben Elton and Richard Curtis and Rowan Atkinson’s note-perfect performance). Then in Blackadder IIIhe's still scheming, but this time has moved a little down the social ladder as butler to the congenitally stupid Prince Regent on the cusp of the 18th and 19th centuries. In all four generations Blackadder is accompanied (or should that be hampered?) by his faithful yet terminally stupid servant Baldrick (Tony Robinson); and if that wasn't bad enough he also has to put up with the incompetence, pomposity and one-upmanship of a host of other contemporary hangers-on wonderfully played by regular costars Hugh Laurie, Tim McInnery, Stephen Fry, Miranda Richardson and Rik Mayall. Taken as a whole this sharp, cynical, occasionally satirical, toilet humour-obsessed and achingly funny saga deserves to stand alongside Fawlty Towersas one of the best ever British sitcoms. —Mark Walker

Mel Brooks

John Landis The Blues Brothers: John Belushi and Dan Aykroyd—as "legendary" Chicago brothers Jake and Elwood Blues—brought their "Saturday Night Live" act to the big screen in this action-packed hit from 1980. As Jake and Elwood struggle to reunite their old band and save the Chicago orphanage where they were raised, they wreak enough good-natured havoc to attract the entire Cook County police force. The result is a big-budget stunt-fest on a scale rarely attempted before or since, including extended car chases that result in the wanton destruction of shopping malls and more police cars than you can count. Along the way there's plenty of music to punctuate the action, including performances by Ray Charles, Aretha Franklin, Cab Calloway and James Brown that are guaranteed to knock you out. Keep an eye out for Steven Spielberg as the city clerk who stamps some crucial paperwork near the end of the film.

The Blues Brothers 2000: It's hard to ignore the sad and conspicuous absence of the late John Belushi, but this long-delayed sequel still has Dan Aykroyd to keep the music alive. Once again, Elwood's trying to reunite the original Blues Brothers Band, and this time he's got a strip-joint bartender (John Goodman) and a 10-year-old orphan named Buster (J Evan Bonifant) joining him at centre stage. It's a shameless clone of the first film, and nobody—especially not Aykroyd or director John Landis—seems to care that the story's not nearly as fun as the music. Of course there's a seemingly endless parade of stunts, including a non-stop pileup of police cars that's hilariously absurd, but what really matters here—indeed, the movie's only saving grace—is the great line-up of legendary blues musicians. Aretha Franklin, James Brown, Junior Wells, Eric Clapton, BB King, Jonny Lang, Eddie Floyd and Blues Traveler are among the many special guests assembled for the film, and their stellar presence makes you wonder if the revived Blues Brothers shouldn't remain an obscure opening act. —Jeff Shannon, Amazon.com

Michael Cumming Chris Morris'Brass Eyeis a brilliantly funny spoof on current affairs media that carries on where his previous The Day Todayleft off. The show ran for one single, contentious series in 1997, to be followed by an even more controversial one-off in 2001. While these episodes might cause offence to those not versed in Morris' satirical methods, and while one occasionally suspects his work is informed by a dark seam of malice and loathing rather than a desire to educate, Brass Eyeremains vital satire, magnificently hilarious and, in its own way, fiercely moral viewing.

Brass Eyesatirises a media far too interested in generating dramatic heat and urgency for its own sake than in shedding light on serious issues. Morris mimics perfectly the house style of programmes such as Newsnightand Crimewatch, with their spurious props and love of gimmickry. Meanwhile his presenter—an uncanny composite of Jeremy Paxman, Michael Buerk and Richard Madeley among others—delivers absurd items about man-fighting weasels in the East End and Lear-esque lines such as "the twisted brain wrong of a one-off man mental" with preposterously solemn authority. Much as the media itself is wont to do, each programme works itself up into a ridiculous fever of moral panic. Most telling is the "drugs" episode, in which, as ever, real-life celebrities, including Jimmy Greaves and Sir Bernard Ingham, are persuaded to lend their name to a campaign against a new drug from Eastern Europe entitled Cake. The satirist's aim here isn't to trivialise concern about drugs but to point up the media's lack of attention to content.

A response to the ill-conceived News of the Worldwitch-hunt, in the wake of the Sarah Payne affair, the 2001 "paedophilia" special was the most supremely controversial of the series. It followed the usual formula—duping celebs such as Phil Collins into endorsing a campaign entitled "Nonce Sense", urging parents to send their children to football stadiums for the night for their own safety and mooting the possibility of "roboplegic" paedophiles—and prompted the sort of hysterical and predictable Pavlovian response from the media that Brass Eyelampoons so tellingly.

On the DVD:Brass Eyeon DVD includes brief outtakes, such as "David Jatt" interviewing celebrities about breeding hippos for domestic purposes, an hilarious exchange with Jeffrey Archer's PA ("He's a very wicked little man") as well as trailers for the paedophilia special.—David Stubbs

Joss Whedon Vampire-slayer Buffy Summers moves to Sunnydale, a Californian community located above the "Hellmouth", a phenomenon which explains the local graveyard's overpopulation of vampires and other supernatural beings. Angel, a mysterious loiterer, starts flirting with Buffy and gives her helpful tips on how to cope with the local nasties. However, he turns out to be a vampire, which complicates the future of their relationship. Buffy makes friends with school outcasts Willow, a computer nerd, and geeky Xander. But she excites the enmity of high-school princess Cordelia. The season's prime villain is the Master, a Nosferatu-looking vampire lurking under the town. Giles, Buffy's mentor, looks things up in books and demonstrates the exact same look of puzzlement actor Anthony Head used to demonstrate in those horrifying instant coffee ads. —Kim Newman

Joss Whedon After the first season of Buffy The Vampire Slayerbecame a ratings success the show was renewed with a bigger budget and twice as many episodes. Seeds are sown through the early episodes for many of the stunning plot developments later in the season: there's a slow burn for the relationships building between Buffy and Angel (no surprise), Giles and Jenny (nice surprise), and Xander and Cordelia (huge surprise). Most importantly, we're introduced to important semi-regulars Spike and Drusilla ("School Hard"), Oz ("Inca Mummy Girl") and fellow Slayer Kendra ("What's My Line Part 1"). Their appearances tackle youth issues such as sibling rivalry, sexual maturity and rejection.

But nothing that came before it prepared audiences for the latter half of season 2. In the extraordinary double act of "Surprise" and "Innocence" every aspect of the show grows up in a big hurry: the result of Buffy sleeping with Angel is a series of tragedies everyone is powerless to predict or prevent, a piece of powerful storytelling conveyed with pared-down dialogue and remarkable performances from the young cast. All of these threads are tied together then torn apart by the two-part finale "Becoming". With a cliffhanger ending to rival The Empire Strikes Back, the second chapter of Buffy The Vampire Slayercloses in tantalising style leaving everything at stake. —Paul Tonks

On the DVD:The computer-animated menu opens this gorgeous box set in style with a tour through a dark and oppressive cemetery, a lavish display of graphics that's all the more impressive when compared to the uneventful DVD for the first season. Most of the extra features are concentrated on the last disc, which includes the obligatory biographies, trailers and TV spots that add little value to hardcore fans but serve as a good introduction to the world of Buffy for non-adepts. The three featurettes are captivating: "Designing Buffy" offers a wealth of information about the set designs, and even includes a walk through of Buffy's home;"A Buffy Bestiary" features every monster from the second season, and "Beauty and the Beats" explores the make-up artistry and special effects. There are also brief cast interviews, in which James Masters ("Spike") reveals his American accent. All in all the extras make a worthy accompaniment to the spectacular season 2 episodes, though one might regret that Joss Whedon did not offer a commentary on the double bill season finale "Becoming". —Celine Martig

Joss Whedon Action-packed Season Three develops major characters and plot lines brewing over the last couple of years. The Mayor, this season's major baddie, wants to become an invincible demon by slaughtering everyone at Sunnydale High's graduation ceremony but he's going to torture them all by giving his speech first. Bad-girl vampire-slayer Faith wants to get one over on Buffy and becomes even more rotten. Angel comes back from hell but isn't sure what to do about his girlfriend. Willow meets her evil gay vampire duplicate from another dimension. Xander loses his virginity but still has to contemplate his essential uselessness. Cordelia gets less whiny and has to work in a dress-shop when her father becomes bankrupt. Giles wears tweed and drinks tea, though it is revealed that he used to be a warlock and in a punk band. Besides the soap opera, there are monsters, curses and vampires (inevitably). —Kim Newman

On the DVD:The DVDs are presented in a standard television 4:3 picture ratio and in a clear Dolby sound that does full justice both to the sparkling dialogue and to the always impressive indie-rock and orchestral scores. Special features include an overview of Season Three by its creator Joss Whedon, and by writers Marti Noxon, David Fury, Doug Petrie and Jane Espenson and documentaries on the weapons, clothes special effects of the show and the speech/verbal tone which makes it what it is-"Buffyspeak". The episodes "Helpless", "Bad Girls", "Consequences" and "Earshot" have commentaries by, Fury, Petrie, director James Gershman and Espenson, in which we find out some fascinating details about the way the scripts mutate and about the particular illuminations added to scripts by actors' performances. After complaints about the Season 2 DVD packaging, the disc envelopes include a protective coating. —Roz Kaveney

Joss Whedon In its fourth season, Buffy the Vampire Slayerhad to change its formula radically. Two major characters—the vampire-with-a-soul Angel and Cordelia, the queen bitch of Sunnydale High—had gone off to be in their own show, Angel, and soon after the start of the season Willow's werewolf boyfriend Oz left when Seth Green needed to concentrate on his film career. Buffy and Willow started college, where they met new characters like Riley, the All-American Boy with a double life, and Tara, the sweet stuttering witch; but Xander and Giles found themselves at something of a loose end. Several characters were subjected to the radical re-envisioning possible in a show that deals with the supernatural: the blond vampire Spike came back and soon found himself with an inhibitor chip in his head, forced into reluctant alliance with Buffy; the former vengeance demon Anya became passionately smitten with Xander.

Not all fans were happy with the central story arc about the sinister Dr Walsh (Lindsay Crouse) and her Frankensteinian creation Adam, though Crouse's performance was memorable. The strength of Season Four was perhaps most in impressive stand-alone episodes like the silent "Hush", the multiple dream sequence "Restless" and the passionate, moving "New Moon Rising", in which Oz returns, apparently cured, only to find that Willow is no longer waiting for him. This was one of the high points of the show as a vehicle for intense acting, perhaps only equalled by "Who Are You?", in which the evil slayer Faith takes over Buffy's body and Sarah Michelle Gellar gets to play bad girl for once. —Roz Kaveney

On the DVD:BuffySeason 4 was a hit and so is this sublime box set. The commentaries for "The Initiative", "This Year'sGirl", "Superstar" and "Primaveral" are all well above average, but are nothing compared to "Hush" and "Restless" where Joss Whedon gives out all the information and insights any fan would dream of. The four featurettes included are a pleasure to watch, especially the evolution of the sets for the show. The scripts, trailers and cast biographies complete the set and make for a decent addition to your Buffy archive. The soundtrack is in 2.0 Dolby surround, but the image is as grainy and dark as the previous seasons on DVD. —Celine Martig

Joss Whedon The fifth season of Buffy the Vampire Slayeris about illusions and the truth that they often reveal; suddenly Buffy has a younger sister, has always had a younger sister. Michelle Trachtenberg as the moody, gawky Dawn achieves the considerable triumph of walking into an established stock company of well-known characters—Xander, Willow, Giles and so on—with the perfect assurance of a long-term member of the cast. Of course, nothing is as it seems; even Glory, the mad brain-sucking beauty in a red dress who is the villain of the year, turns out to be even more than she seems. Sarah Michelle Gellar as Buffy manages to convey heartbreak, self-involvement and real heroism as her relationship with her emotionally dense soldier boyfriend Riley hits the shoals and the blonde vampire Spike starts to show an altogether inappropriate interest.

This season is also about the hard truth that there are some enemies it is impossible to fight. Even being around Buffy and Dawn is dangerous for their friends, as Glory and her minions proceed by a process of elimination. The eventual confrontation, when it comes, is genuinely shocking. Meanwhile, the vampire Spike's obsessed desire for Buffy takes them both to some very strange places and Willow and Tara have their love tested in the most gruelling of ways. And in the quietly upsetting episode "The Body", the cast produce their most impressive performances yet as they have to deal with another enemy they cannot fight. —Roz Kaveney

Joss Whedon The sixth series of Buffy the Vampire Slayerfollowed the logic of plot and character development into some gloomy places. The year begins with Buffy being raised from the dead by the friends who miss her, but who fail to understand that a sacrifice taken back is a sacrifice negated. Dragged out of what she believes to have been heavenly bliss, she finds herself "going through the motions" and entering into a relationship with the evil, besotted vampire Spike just to force her emotions.

Willow becomes ever more caught up in the temptations of magic; Xander and Anya move towards marriage without ever discussing their reservations; Giles feels he is standing in the way of Buffy's adult independence; Dawn feels neglected. What none of them need is a menace that is, at this point, simply annoying—three high school contemporaries who have turned their hand to magical and high-tech villainy. Added to this is a hungry ghost, an invisibility ray, an amnesia spell and a song-and-dance demon (who acts as rationale for the incomparable musical episode "Once More With Feeling").

This is a year in which chickens come home to roost: everything from the villainy of the three geeks to Xander's doubts about marriage come to a head, often—as in the case of the impressive wedding episode—through wildly dark humour. The estrangement of the characters from each other—a well-observed portrait of what happens to college pals in their early 20s—comes to a shocking head with the death of a major character and that death's apocalyptic consequences. The series ends on a consoling note which it has, by that point and in spite of imperfections, entirely earned. —Roz Kaveney

Joss Whedon The seventh and final series of Buffy the Vampire Slayerbegins with a mystery: someone is murdering teenage girls all over the world and something is trying hard to drive Spike mad. Buffy is considerably more cheerful in these episodes than we have seen her during the previous year as she trains Dawn and gets a job as student counsellor at the newly rebuilt Sunnydale High. Willow is recovering from the magical addiction which almost led her to destroy the world, but all is not yet well with her, or with Anya, who has returned to being a Vengeance demon in "Same Time, Same Place" and "Selfless", and both women are haunted by their decisions.

Haunting of a different kind comes in the excellent "Conversations with Dead People" (one of the show's most terrifying episodes ever) where a mysterious song is making Spike kill again in spite of his soul and his chip. Giles turns up in "Bring on the Night" and Buffy has to fight one of the deadliest vampires of her career in "Showtime". In "Potential" Dawn faces a fundamental reassessment of her purpose in life.

Buffywas always a show about female empowerment, but it was also a show about how quite ordinary people can decide to make a difference alongside people who are special. And it was also a show about people making up for past errors and crimes. So, for example, we have the excellent episodes "Storyteller", in which the former geek/super villain Andrew sorts out his redemption while making a video diary about life with Buffy; and "Lies My Parents Told Me", in which we find out why a particular folk song sends Spike crazy. Redemption abounds as Faith returns to Sunnydale and the friends she once betrayed, and Willow finds herself turning into the man she flayed. Above all, this was always Buffy's show: Sarah Michelle Gellar does extraordinary work here both as Buffy and as her ultimate shadow, the First Evil, who takes her face to mock her. This is a fine ending to one of television's most remarkable shows. —Roz Kaveney

Nick Stahl, Clancy Brown Like a cross between TWIN PEAKS and THE GRAPES OF WRATH, HBO's acclaimed television drama CARNIVALE fashions an allegorical fable about the mythic battle of good and evil set against the surreal backdrop of a Depression-era travelling circus. Having lost both his farm and family to the 1930s Dust Bowl, recent prison escapee Ben Hawkins (Nick Stahl, IN THE BEDROOM, BULLY) joins an itinerant carnival in a desperate bid to escape poverty, the police, and his own discomfort with his miraculous healing powers. Ben's story is juxtaposed with that of California preacher Justin Crowe (Clancy Brown, THE SHAWSHANK REDEMPTION), whose evangelical ministries with sister Iris (Amy Madigan) take on increasingly sinister overtones and hint at an eventual confrontation between himself and young Hawkins—whose fate seems somehow intertwined with his own through the mysterious figure of former circus showman Henry Scudder (John Savage). As the series leisurely builds to this apocalyptic showdown, there is much drama to be found in the daily goings-on of the carnival denizens. Lorded over by the pint-sized Samson (TWIN PEAKS' Michael J. Anderson) and the strangely unseen Management, the ragtag collection of sideshow freaks features blind soothsayer Lodz (Patrick Bauchau); his bearded-lady companion Lila (Debra Christofferson); matronly snake charmer Ruthie (Adrienne Barbeau); her strongman son Gabriel (Brian Turk); Siamese twins Alexandria and Caledonia (Karyne and Sarah Steben); the lizard-man Gecko (notorious NEA Four performance artist John Fleck); and, most intriguingly, catatonic tarot-card reader Apollonia (Diane Salinger), who communicates telepathically with her sensitive but troubled daughter Sophie (Clea DuVall). Rounding out the eccentric troupe are wounded former baseball-player-turned-roustabout Jonesy (Tim DeKay) and a family of strippers and prostitutes comprised of mother Rita Sue (Cynthia Ettinger); her daughters Libby (Carla Gallo) and Dora Mae (Amanda Aday); and their pimpish father Stumpy (Toby Huss). Creator Daniel Knauf surrounds this impressive cast with impeccable period-piece production design, a rotating roster of directorial talent that includes Alison Maclean (JESUS' SON) and Rodrigo Garcia (fittingly, son of magical-realist writer Gabriel Garcia Marquez), and innovative storytelling that is at once supremely creepy, intellectually provocative, and emotionally gripping. This collection includes all 12 episodes of the series' highly addictive first season.

Carnivale The second season of HBO's Depression-era gothic—John Steinbeck by way of Tod Browning—picks up where the first left off. Professor Lodz (Patrick Bauchau) is dead. Ben (Nick Stahl), the show's protagonist, appears to be the culprit. Samson (Michael J. Anderson) helps him dispose of the body. Later he tells the other carnival workers that Lodz "took a powder." Lila (Debra Christofferson) doesn't buy it. Meanwhile, Sophie (Clea DuVall), who lost her mother to fire the previous year, feels unmoored without her guidance. A few states away, Brother Justin (Clancy Brown) harbors ever greater delusions of grandeur—and inappropriate thoughts about his sister, Iris (Amy Madigan). In "Alamagordo, NM," he decides to establish a temple, which he dubs Jonestown, er, Jericho. At the same time, life amongst the carnies, who are heading towards Justin's California, is becoming increasingly tense. Ruthie (Adrienne Barbeau), for instance, is starting to see dead people—like Lodz—and Stumpy (Toby Huss) is no longer able to keep his gambling in check. As with the first season, the action continues to alternate between the carnival and the congregation. What binds the two is a man named Scudder (John Savage), who has connections to Ben and Justin. Although writer/creator Dan Knauf had planned to tie things up between seasons three and six, HBO did not renew Carnivàle a second time. Nonetheless, a surprising number of questions are answered, like the identity of "Management" (voiced by an un-credited Linda Hunt) and whether Ben and Justin will have a final showdown. The answer to the latter question is: Yes, they will—and there’ll be casualties. —Kathleen C. Fennessy

Orson Welles The most acclaimed film in cinema history, Citizen Kanereceives extra bolstering each time it tops a "greatest films ever" list. As a piece of filmmaking it ticks all the right boxes: a precociously talented director and lead actor in Orson Welles, Gregg Toland's innovative cinematography, a strong screenplay by Welles and Herman J Mankiewicz, rich scoring from Bernard Herrmann, and so on. For its time, it was technically groundbreaking, and laid out a blueprint for Hollywood filmmaking that's still influential. But, most importantly, as a viewing experience it's still one of the most mesmerising and beautiful films in existence. From its opening scenes—Kane—Kane's eerie Gothic mansion, his lone figure muttering the word "Rosebud" as he dies, journalists discussing the newsreel footage of his obituary—Kane lays out an enigma: who exactly was this man? Looping flashbacks build up a portrait of a contradictory figure who, despite living in the public eye, remained a mystery at heart.

A testament to the corrupting influence of money, fame and the media and at its centre the tale of a man in search of love, Citizen Kaneis a personal tragedy on an epic scale. Technically, it's a lesson in filmmaking in itself whose daring aesthetics nonetheless remain unobtrusive. It's doubtful that a debut director will ever be given such free reign by a studio again and even if this happened, it's doubtful that such a masterpiece would be created.

On the DVD:Citizen Kanein this DVD special edition is beautifully remastered and comes with a feature illustrating the before and after of the restoration process. A 50-minute documentary, "Anatomy of a Classic", hosted by Barry Norman, delves into the making of the film as well as trying to deal with some of the myths that surround it, like the (untrue) rumour that Welles ran over both time and budget. Film historian Ken Barnes takes over for a commentary and Welles himself is featured in his controversial 1938 radio broadcast of The War of the Worldsand 1945 broadcast of The Happy Prince. A photo gallery, extensive cast and crew profiles, breakdown of all the films expenses and trailer round off this admirable package.—Laura Bushell

Martin Dennis Couplingis a witty, instantly addictive series that charts the tangled sex lives of a close-knit group comprising "exes and best friends": womaniser Jack, hapless nice guy Steve, "strange and disturbing" Jeff, uninhibited Susan, neurotic Sally and manipulative Jane. The obvious frame of reference is Friends(Steve and Susan are the Ross and Rachel equivalent), but this series also echoes Seinfeldin its coinage of catchphrases and plot lines (in episode one, Steve tries to dump Jane, who refuses to accept). But it's no mere British clone of US sitcoms: Couplinghas its own fresh and provocative take on relationships. At one point, a furious Susan discovers that Patrick not only had a videotape of the former couple having sex, but that he also taped over her. —Donald Liebenson

Martin Dennis Steven Moffat's second series of Coupling, first broadcast in 2001, is a brilliant consolidation of all those neuroses, small deceits, obsessions and personality tics that struck such a resonant chord when Steve, Susan and their four friends were first unleashed on us. Comparisons with Friendsitself are tiresome and lazy: Couplingis an intrinsically British comedy that picks apart the trivial and the mundane in everyday relationships and takes them on surreal journeys, leaving the participants hilariously bemused and rarely any wiser.

Its success is due to the magical combination of Moffat's very funny scripts and the talents of six extremely likable actors, including Jack Davenport (Steve) and Sarah Alexander (Susan). But it's Richard Coyle's Jeff, whose sexual fantasies and putting-your-his-in-it propensities exert a compelling fascination, who really keeps you watching through your fingers as you hold your hands to your face in disbelief.

Breasts, bottoms and pants are the basis for most of the conversational analysis when these friends get together as a group, as couples, as girlfriends or as mates, invariably becoming metaphors for the state of a relationship or situation. Individual viewpoints and terrors are explored through respective memories of the same event and what-if scenarios. Chain reactions inevitably ensue, fuelling comedy that is based almost entirely on misunderstanding.

On the DVD:Coupling, Series 2on disc is presented in 16:9 anamorphic video aspect ratio, together with a crisp Dolby Digital stereo soundtrack; Mari Wilson's sensuous version of "Perhaps, Perhaps, Perhaps" for the theme tune deserves a special mention. Extras include disappointing interviews with writer Steven Moffat and Jack Davenport, which are mainly an excuse to repeat several major scenes from the series in full. The "Behind the scenes" feature is also a let-down: it's just a not very funny record of a cast photo shoot. —Piers Ford

Martin Dennis The third series of Coupling, first aired in 2002, takes fans of the BBC's comedy of sex, manners and modern relationships into new realms of engaging surrealism, leaving those irritating comparisons with Friendstrailing in its wake. The men are constantly in pursuit of a basic grasp of the "emotional things" that make women behave the way they do. The women analyse everything to death. But thanks to Steve Moffat's scripts, tighter and quirkier than ever, these characters are living, breathing human beings rather than cynical ciphers for comedy stereotypes.

The performances are as strong as you'd expect from an established team, with actors such as Jack Davenport (the ever-perplexed Steve), Ben Miles (unreconstructed chauvinist Patrick), Sally Alexander (dryly intelligent Susan) and Kate Isitt (neurotic Sally) wearing their roles like second skins. But in the surreal stakes, it's Richard Coyle as Jeff, wondering aloud what happens to jelly after women have finished wrestling in it, and Gina Bellman as Jane, musing on the importance of a first snog in identifying what men like to eat, who really raise the laughter levels. All things considered, this is superior comedy for all thirtysomethings—genuine and putative. —Piers Ford

Coupling Season 4: feel free to insert your own "four-play" joke, or for that matter, your own "insert" joke. Sex is still topic 1 for the intertwined group of "exes and best friends", but in this pivotal season there are momentous "relationship issues" that will upend all their lives (insert your own "upend" joke while you're at it).

Susan is pregnant, inspiring in Steve nightmares about his own execution and unflattering comparisons of the birth process to John Hurt's iconic gut-busting scene in Alien. Missing in action is the Kramer-esque Jeff (although he makes something of a return in the season finale). Joining the ensemble is Oliver, who is more in the Chandler mode as a lovable loser with the ladies. These inevitable comparisons to "Sein-Friends" are no doubt heresy to Coupling's most devoted viewers. Indeed, this series does benefit from creator and sole writer Steven Moffat's comic voice and vision. He provides his ever-game cast some witty, funny-‘cause-it's-true dialogue, as in Oliver's observation that "Tea isn't compatible with porn". This Britcom is also less inhibited in language and sexual situations than its American counterparts. In the cleverly-constructed opening episode, in which the same "9-1/2 Minutes" are witnessed from three different perspectives, Sally and Jane can do what was left to the imagination when Monica and Rachel offered to make out in front of Joey and Chandler. The birth of Susan and Steven's baby ends the six-episode season on a satisfying and surprisingly moving grace note. A bonus disc takes viewers behind the scenes with segments devoted to bloopers and interviews with cast and crew. —Donald Liebenson

To quote New York movie critic Jay Sherman, voiced to Master Thespian perfection by Jon Lovitz, "it stinks" that The Criticlasted all but two seasons. "I used to have a show on ABC," Sherman bitterly remarks at one point, "for about a week." The show, created by Al Jean and Mike Reiss of Simpsonslegend, fared no better when it moved to Fox, and little better when re-run on Comedy Central. But it did garner a devoted following, and thanks to DVD and the Internet, "the last hope of fading stars" (according to one of the ten "Webisodes" contained in this three-disc set), Jay Sherman lives! Television's saddest sack is the host of a TV review show, Coming Attractions. He must deal with the slings, arrows, and outrageous misfortunes heaped upon him by his ex-wife, adoptive WASP parents, and ratings-desperate Ted Turner-esque boss. On the movie front, The Criticis no less inside than the similarly ill-fated Action, but its hilarious parodies of classics and contemporary blockbusters, from the musical "Apocalypse Wow" to "Dennis the Menace II Society," make it much more accessible to any multiplex-goer.

The Critictook particular glee in zinging Howard Stern, Arnold Schwarzenegger, and Woody Allen and Soon-Yi. (We pause to praise the show's unsung heroes, Maurice Le Marche and Nick Jameson, who provide uncanny celebrity impersonations each episode). Some references have a longer shelf life than others. Conan O'Brien, at the time a fledgling talk-show host, certainly got the last laugh on a spied newspaper headline, "Conan Replaced by Dancing Chicken." And the series' best episode, in which Jay reunites an estranged Roger Ebert and the late Gene Siskel, plays now as a touching tribute to the original Thumb and Thumber. The Criticis poised for discovery. Is it too much to hope that, as with Family Guy, voluminous DVD sales may spark interest in creating new episodes? —Donald Liebenson

Christopher Nolan The Dark Knight arrives with tremendous hype (best superhero movie ever? posthumous Oscar for Heath Ledger?), and incredibly, it lives up to all of it. But calling it the best superhero movie ever seems like faint praise, since part of what makes the movie great—in addition to pitch-perfect casting, outstanding writing, and a compelling vision—is that it bypasses the normal fantasy element of the superhero genre and makes it all terrifyingly real. Harvey Dent (Aaron Eckhart) is Gotham City's new district attorney, charged with cleaning up the crime rings that have paralysed the city. He enters an uneasy alliance with the young police lieutenant, Jim Gordon (Gary Oldman), and Batman (Christian Bale), the caped vigilante who seems to trust only Gordon—and whom only Gordon seems to trust. They make progress until a psychotic and deadly new player enters the game: the Joker (Heath Ledger), who offers the crime bosses a solution—kill the Batman. Further complicating matters is that Dent is now dating Rachel Dawes (Maggie Gyllenhaal, after Katie Holmes turned down the chance to reprise her role), the longtime love of Batman's alter ego, Bruce Wayne.

In his last completed role before his tragic death, Ledger is fantastic as the Joker, a volcanic, truly frightening force of evil. And he sets the tone of the movie: the world is a dark, dangerous place where there are no easy choices. Eckhart and Oldman also shine, but as good as Bale is, his character turns out rather bland in comparison (not uncommon for heroes facing more colorful villains). Director/co-writer Christopher Nolan (Memento) follows his critically acclaimed Batman Begins with an even better sequel that sets itself apart from notable superhero movies like Spider-Man 2 and Iron Man because of its sheer emotional impact and striking sense of realism—there are no suspension-of-disbelief superpowers here. At 152 minutes, it's a shade too long, and it's much too intense for kids. But for most movie fans—and not just superhero fans—The Dark Knight is a film for the ages. —David Horiuchi

Christian Bale, Heath Ledger, Christopher Nolan Christian Bale, Heath Ledger, Aaron Eckhart, Gary Oldman, Michael Caine, Maggie Gyllenhaal, Morgan Freeman, Eric RobertsDirector: Christopher Nolan

George A. Romero The quite terrifying and gory Dawn of the Deadwas George Romero's 1978 follow-up to his classic 1968 Night of the Living Dead. But it is also just as comically satiric as the first film in its take on contemporary values. This time, we follow the fortunes of four people who lock themselves inside a shopping centre to get away from the marauding dead and who then immerse themselves in unabashed consumerism, taking what they want from an array of clothing and jewellery shops, making gourmet meals and so on. It is Romero's take on Louis XVI in the modern world: keep the starving masses at bay and crank up the insulated indulgence. Still, this is a horror film after all and even some of Romero's best visual jokes (a Hare Krishna turned blue-skinned zombie) can make you sweat. —Tom Keogh

Zack Snyder Are you ready to get down with the sickness? Movie logic dictates that you shouldn't remake a classic, but Zack Snyder's Dawn of the Deaddefies that logic and comes up a winner. You could argue that George A. Romero's 1978 original was sacred ground for horror buffs, but it was a low-budget classic, and Snyder's action-packed upgrade benefits from the same manic pacing that energized Romero's continuing zombie saga. Romero's indictment of mega-mall commercialism is lost (it's arguably outmoded anyway), so Snyder and screenwriter James Gunn compensate with the same setting—in this case, a Milwaukee shopping mall under siege by cannibalistic zombies in the wake of a devastating viral outbreak—a well-chosen cast (led by Sarah Polley, Ving Rhames, Jake Weber, and Mekhi Phifer), some outrageously morbid humor, and a no-frills plot that keeps tension high and blood splattering by the bucketful. Horror buffs will catch plenty of tributes to Romero's film (including cameos by three of its cast members, including gore-makeup wizard Tom Savini), and shocking images are abundant enough to qualify this Dawnas an excellent zombie-flick double-feature with 28 Days Later, its de facto British counterpart. —Jeff Shannon

Jaime Winstone, Andy Nyman, Chris Wyatt, Yann Demange Starring Jaime Winstone (Donkey Punch, Kidulthood), Dead Set is E4's new horror series in which the dead are returning to life and attacking the living. Curiously there are a few people left in Britain who aren't worried about any of this - that's because they're the remaining contestants in Big Brother. Cocooned in the safety of the Big Brother house, they're blissfully unaware of the horrific events unfolding in the outside world. Until an eviction night when all hell breaks loose. Kelly (Winstone), a production runner working on a fictional series of Big Brother, finds herself trying to fend off the walking dead alongside her producer boss Patrick (Andy Nyman, Severance), boyfriend Riq (Riz Ahmed, Britz) and the remaining Big Brother housemates. Featuring cameos from Davina McCall and several former housemates, this is a cruel and twisted take on one of TV's biggest game shows. Dead Set was created and written by Charlie Brooker (Nathan Barley co-creator and Guardian writer).

Stanley Kubrick Arguably the greatest black comedy ever made, Stanley Kubrick's cold war classic is the ultimate satire of the nuclear age. Dr Strangeloveor How I Learned to Stop Worrying and Love the Bomb, to give it its full title, is a perfect spoof of political and military insanity, beginning when General Jack D Ripper (Sterling Hayden), a maniacal warrior obsessed with "the purity of precious bodily fluids", mounts his singular campaign against Communism by ordering a squadron of B-52 bombers to attack the Soviet Union. The Soviets counter the threat with a so-called "Doomsday Device," and the world hangs in the balance while the US president (Peter Sellers) engages in hilarious hot-line negotiations with his Soviet counterpart. Sellers also plays a British military attaché and the mad scientist Dr Strangelove; George C Scott is outrageously frantic as General Buck Turgidson, whose presidential advice consists mainly of panic and statistics about "acceptable losses". With dialogue ("You can't fight here! This is the war room!") and images (Slim Pickens's character riding the bomb to oblivion) that have become a part of our cultural vocabulary, Kubrick's film regularly appears on critics' lists of the all-time best. —Jeff Shannon, Amazon.com

Richard Kelly Donnie Darko is a thought-provoking, touching and distinctive offering from relative newcomer, Richard Kelly (II). It's 1988 in small-town America and Donnie, a disturbed teenager on medication and undergoing psychoanalysis for his blackouts and personality disorders, is being visited by a being in a rabbit suit whom he calls Frank. It's this anti-Harvey that saves Donnie from being crushed to death when an airplane engine falls from the sky onto his house. This is the beginning of their escalating relationship, which, as Donnie follows Frank's instructions, becomes increasingly violent and destructive. Added to this is Frank's warning of the impending apocalypse and Donnie's realisation that he can manipulate time, leading to a startling denouement where nearly everything becomes clear.

"Nearly everything", because Donnie Darko is a darkly comic, surreal journey in which themes of space, time and morality are interwoven with a classic coming-of-age story of a teenage boy's struggle to understand the world around him. The film leaves the viewer with more questions than it answers, but then that's part of its charm. Performances are superb: Jake Gyllenhaal underplays the mixed-up kid role superbly and Donnie's episodes of angst positively erupt out of the screen. There are also some starry cameos from Mary McDonnell as Donnie's long-suffering mother, Patrick Swayze as Jim Cunningham, the personal-development guru with a terrible secret, and Noah Wyle and Drew Barrymore as Donnie's progressive teachers. Undoubtedly too abstruse for some tastes, Donnie Darko's balance of outstanding performances with intelligent dialogue and a highly inventive story will reward those looking for something more highbrow than the average teenage romp. —Kristen Bowditch

A treasure-trove for Dream Theater fans, Live at Budokanpresents an entire three-hour performance at Tokyo's famed Budokan arena on April 26, 2004, along with a bonus disc rich in supplementary material. Disc 1 finds the metallic progressive-rock quintet at its awe-inspiring best, plowing through its catalogue of dramatic epics and jack-hammer instrumentals, including five of the seven songs from 2003's Train of Thought. Disc 2 features an extended drum solo from percussionist extraordinaire Mike Portnoy; gear tours from guitarist John Petrucci and keyboardist Jordan Rudess (fascinating for lay people and downright revelatory for musicians); and a half-hour documentary on DT's 2004 stint in Japan punctuated by tantalizing snippets of band rehearsals. The shooting and editing for the concert are a music lover's dream, with lengthy shots that linger on the performances of individual band members. Disc 2 takes this even further with a multi-angle sequence of the 12-minute "Instrumedley".

Production values are extremely high: it's a widescreen presentation shot on high-def video and nicely mixed for multichannel Dolby Digital 5.1 surround sound (with a thinner, collapsed version of the same for Dolby 2.0). —Michael Mikesell

Amid the lo-fi wasteland of the 1990s, Dream Theater were an unashamedly unhip throwback to the glory days of progressive rock; and in their 1999 album Scenes from a Memorythey even dared to exhume that once-extinct species, the concept album. In 2000 the band took Sceneson the road, and the resulting concert footage is a testament both to their musical creativity and the fanatical loyalty of their audiences.

Filmed on a sweltering August evening in New York, this was the last time the band played the album right through, using an on-stage narrator and even bringing on a Gospel choir for the grand finale. But the heat of the night is nothing to that generated by the blistering performances from a group of unrepentant musos who like nothing better than to play in complex time signatures and thrash out lengthy riffs at dizzying speed.

Those not already converted will doubtless be puzzled by the sight of five hairy blokes earnestly expounding a quasi-operatic story of dying and "learning to live", while drummer/director Mike Portnoy’s decision to intercut film snippets of the album's story with the concert footage seems redundant. But fans of this band, and anyone who yearn for the classic days of Rush, Genesis and Yes, will have nothing to complain about here: don’t believe the music press, prog-rock is alive and well.

On the DVD:here’s a disc that’s going to make this band's audience very happy indeed. Aside from the main concert itself there are five additional tracks—and this being Dream Theater, they are all pretty substantial, climaxing with the epic "A Change of Seasons". Then there’s a fun 25-minute behind-the-scenes documentary with crew and fans waxing enthusiastic about the band, and even more additional concert footage. The whole band gather to provide a concert commentary, which ordinarily might seem an odd thing to do, but this is prog-rock after all. A picture gallery of tour photos rounds out the extras. Sound is unfussy Dolby stereo.—Mark Walker

Ricky Gervais Uneasy lies the head that wears the crown of celebrity. Andy Millman (Ricky Gervais) is back and more miserable than ever in this darker and devastatingly funny finale to the Emmy-winning series. Though his sitcom When the Whistle Blows rates six million viewers, he is, as ever, mindful of the critics' barbs and jealous of colleagues landing the prestige film roles he covets. "I'm not proud of having Britain's No. 1 catchphrase," he grouses (actually, he has sunk to No. 3, now trailing "You are the weakest link, goodbye"). Worse, he has become a right bastard, arrogantly treating crewmembers and his one true friend, Maggie (a heartbreaking Ashley Jensen), like dirt. Andy finally drops his clueless and incompetent agent (series co-creator Stephen Merchant) and quits the show. "Don't worry about me," he proclaims. "The phone won't stop ringing."

Unlike the finale of The Office, this super-duper-sized episode really has no loose ends to tie up. In Andy's humiliating comeuppance (he sinks to portraying an alien on Dr. Who and joins the desperate housemates on Celebrity Big Brother), Gervais has the perfect vessel with which to rail against soul-sucking celebrity, degrading tabloid culture, and "the gutter press." As for Andy and Maggie, those longing for some kind of Tim/Dawn hookup may not get exactly what they want, but they will get what they need in the lovely final scenes. A-listers having a laugh at their own images have always been one of Extras' special treats. The finale features jaw-dropping cameos by Clive Owen and George Michael, performing community service yet again. —Donald Liebenson

Both series of Ricky Gervais and Stephen Merchant’s triumphant Extras are united in this box, and with nothing more than a Yuletide special planned beyond these episodes, it’s a great chance to catch up with this star-packed, offbeat programme.

Unlike their previous The Office, Gervais and Merchant have delivered a less accessible but no less rewarding programme with Extras. It starts with Andy Millman, a ‘background artist’, sitting in the shadows of a variety of different shows, before, in the second series, he gets his own spot in the limelight.

What’s helped characterise the series, of course, has been the continued presence of star names in cameo roles. These range from Hollywood bigshots—Samuel L Jackson, Kate Winslet and Harry Pott.., sorry, Daniel Radcliffe—and continue through to familiar faces from British TV—step forward Les Dennis, Ross Kemp and Barry from EastEnders. Most of the plaudits, though, rightly go in the direction of the splendid Ashley Jensen, who emerges as the most likeable and rounded of all the show’s characters.

There’s little danger, it seems, that Extras will dethrone The Office from the top of its creators’ CVs, but thanks to its strong writing, its measured mix between melancholy and amusement, and some superb performances, it more than carves a very strong niche for itself. —Jon Foster

It’s criminal, really, given the sheer outright quality of Family Guy that more people aren’t willing to give it a try. For while it tends to draw comparisons to The Simpsons—after all, it is a family-based animated comedy show—Family Guy very much has a voice of its own. It’s also less worried about catering to a family demographic, something the writers have little problem making the most of.

Season four has plenty of evidence for why the show shouldn’t be overlooked. Picking up the story of the family Griffin, this time more of the background characters are allowed into the limelight, and that’s really to the programme’s benefit. That’s not to say the main players are out of sight, and the quite wonderful baby Stewie has plenty of air time, but there’s a real ensemble feel.

The rapid-fire, razor-sharp wit and writing quality that’s become the trademark of the show is present and correct too, and the quality of the episodes on offer put season four up there as not quite the finest series of Family Guy to date, but it nonetheless runs things very close indeed. If you’ve not taken the plunge yet, you’ve really, really been missing out… —Jon Foster

Seth MacFarlane, Alex Borstein

Family Guy The adventures of the Griffin family continue apace with this latest Family Guy boxset, which once again delivers many hours of quite brilliant animated comedy.

The show, for those new to it, follows the wonderful Griffin family, headed up by the daft but loveable Peter and the happily oblivious Lois, through to their teenage kids Chris and Meg. But as any seasoned Family Guy viewer will happily tell you, the gold of the show lies with the two characters who are the brains of the family. On the one hand there’s Brian the dog, and then on the other is the little baby Stewie. He, surely, is the absolute highlight, a maniacal evil genius of a child, who in this season seven set finally manages to kill Lois. Insert your own evil laugh here.

The 12 episodes on offer in the Family Guy season 7 boxset aren’t all vintage, but there are some cracking inclusions. The 100th episode special is a good place to start, and then there’s the small matter of President Bush’s underwear going walkabout. Throw in a bit of time travel for Peter, and it’s the usual oddball mix that helps make the show so strong.

With plenty of rewatch value and a continued ability to generate laughs, Family Guy is a show that’s still thriving on the evidence with this set. And frankly, the next collection of episodes on DVD can’t come quickly enough. —Jon Foster

Seth MacFarlane, Alex Borstein

The debates have already been raging across the Internet over whether Family Guy has peaked, whether it’s the funniest show on television at the moment, and whether it’s better than The Simpsons, or some way behind it. Yet while most will agree that season five isn’t the best the show’s creators have produced, don’t let that blind you to the sheer joy contained within this DVD set.

The highlights of Family Guy for many, of course, are Stewie the ingenious baby and the family’s dog Brian (arguably the sanest one of the lot), and both are in fine form here. And while this series again allows many of the supporting characters a space in the limelight, it’s Stewie and Brian who remain responsible for some of Family Guy’s funniest moments. Bluntly, there are plenty of them.

Still, there’s little getting away from the fact that season five lacks the spark that energised the superb first two or three series, and as a result, there are episodes here that are good where they were once great. There are, still, plenty of examples of the old magic, and it’s still primarily a real pleasure that’s pretty much guaranteed to raise laughs from those who don’t mind their entertainment with a bit of edge. But it’ll be interesting to see where Family Guy goes from here, and whether its real glory days are permanently consigned to the past. —Jon Foster

Family Guy shouldn't work at all. Even by the witless standards of modern television, it is breathtakingly derivative: does an animated series about the travails of a boorish, suburban yob with a saintly wife, a hopeless son, a clever daughter and a baby sound familiar at all? Even the house in Family Guy looks like it was built by the same architects who sketched the residence of The Simpsons.

However, Family Guy does work, transcending its (occasionally annoyingly) obvious influences with reliably crisp writing and the glorious sight gags contained in the surreal flashbacks which punctuate the episodes. Most importantly, the show's brilliance comes from two absolutely superb characters: Stewie, the baby whose extravagant dreams of tyrannising the world are perpetually thwarted by the prosaic limitations of infanthood, and the urbane family dog Brian—Snoopy after attendance at an obedience class run by Frank Sinatra. Family Guy does not possess the cultural or satirical depth of The Simpsons—very little art in any field does. But it is a genuinely funny and clever programme. —Andrew Mueller

The second series of Seth MacFarlane's animated sitcom Family Guy continues with its own brand of acerbic pop-culture satire mixed with gleefully tasteless comedy. Even though the chaotic Griffin household bears more than a passing resemblance to The Simpsons, and their neighbours are uncannily like those from King of the Hill, the show's combination of extended flashbacks, surreal fantasy sequences and delightful non sequiturs ("Math, my dear boy, is nothing more than the lesbian sister of biology") refreshes the familiar formula. And any show that features Adam "Batman" West guest starring as the demented Mayor of Quahog must score points for bizarre originality.

Highlights of the 15 episodes here include Peter discovering his feminine side ("I Am Peter, Here Me Roar"), Stewie and Brian on an eventful road trip ("Road to Rhode Island"), Peter annexing his neighbour's pool and inviting the world's dictators round for a barbeque ("E Peterbus Unum") and, as a bonus episode, the irreverent "When You Wish Upon a Weinstein", which was deemed "too offensive for TV". It may be lowbrow scatological farce, but unlike its big-screen live-action cousins (think Farrelly Brothers), Family Guy is always warm-hearted and never vicious.

On the DVD: Family Guy, Series 2 is spread across two discs that boast Dolby 5.1 sound but standard 4:3 picture. There's no "Play All" facility (something else this release has in common with The Simpsons on DVD) and there are no extras other than the "bonus" episode. —Mark Walker

The third season of Seth MacFarlane's Family Guy finds television's most dysfunctional cartoon family even more animated than usual. As MacFarlane himself noted, he was inspired to go for broke, thinking that the series—already juggled like a hot potato in the US TV schedules (at one point, it aired opposite the mighty Friends)—had been cancelled. Just as This Is Spinal Tap walked the fine line between "clever and stupid", so Family Guy gleefully mocks the line between "edgy and offensive".

Like The Simpsons, Family Guy lends itself to multiple viewings to catch each densely packed episode's way-inside "one-percenter" gags (so-called by the creators because that is the percentage of the audience who will get them), scattershot pop-culture references, surreal leaps and gratuitous pot shots at everyone from, predictably, Oprah, Kevin Costner and Bill Cosby to, unpredictably, Rita Rudner. Also like its Springfield counterpart, this series benefits from a great ensemble voice cast, with surprising contributions from a no-less-stellar roster of guest stars. —Donald Liebenson

Andrew Stanton 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

Much praised and much missed after its premature cancellation, Fireflyis the first SF TV series to be conceived by Joss Whedon, creator of Buffyand cocreator of Angel. Set five centuries in the future, it is a show where the mysterious personal pasts of the crew of the tramp spaceship Serenitycontinually surface. In fact, it's a Western in space where the losers in a Civil War are heading out to a barren frontier. Mal Reynolds is a man embittered by the war, yet whose love of his comrades perpetually dents his cynicism—even in the 14 episodes that exist we see him warm to the bubbly young mechanic Kaylee, the preacher Book, the idealistic doctor Simon, even to the often demented River, Simon's sister, the psychic result of malign experiments.

Fireflyis also about adult emotional relationships, for example Kaylee's crush on Simon, the happy marriage of Mal's second officer Zoe and the pilot Wash, the disastrous erotic stalemate between Mal and the courtesan Inara. Individual episodes deal with capers going vaguely wrong, or threats narrowly circumvented; character and plot arcs were starting to emerge when the show was cancelled. Fortunately, the spin-off movie Serenityis planned; and in the meantime, what there is of Fireflyis a show to marvel at, both for its tight writing and ensemble acting, and the idiocy of the executives who cancelled it.

On the DVD:Fireflyon DVD is presented in anamorphic 1.78:1 with Dolby Surround Sound. It includes commentaries on six episodes by various writers, directors, designers and cast members as well as featurettes on the conception of the show and the design of the spaceship Serenity, four deleted scenes, a gag reel, and Joss Whedon singing the show's theme tune, more or less. One of the things that emerges from all of this is how committed to the project everyone involved with it was, and is—unusually, you end up caring as much for the cast and crew as for the characters. The discs have subtitles in English and Spanish and the option of listening to the soundtrack dubbed into Spanish or French. —Roz Kaveney

Dwayne Carey-Hill

Dwayne Carey-Hill

David X. Cohen The last of the four commission direct-to-DVD spin-off movies for Futurama, Into The Wild Green Yonder fortunately leaves us salivating for more. Will we get them? Possibly, but for now, it’s perhaps wiser to deal with what we’ve got.

Into The Wild Green Yonder continues the environmental theme that has underpinned many of the specials, with the plan this time surrounding Amy’s dad, Leo Wong, and his desire to sweep away part of the galaxy so that he can build a golf course (the biggest of its type in the universe, naturally). As this plan unfolds, Fry manages to pick up some mind-reading abilities and Bender embarks on an affair, amongst other events. And while Into The Wild Green Yonder does focus tightly on a handful of characters, leaving some of the others a little short-changed, the star attractions here all get plenty of time.

And that’s been one of the strengths of these DVD spin-offs. Running to the best part of 90 minutes, they’ve taken their time to set things up, and made the most of the extended running time. Into The Wild Green Yonder is no different, and really benefits—albeit at the cost of one or two slower moments—from having a bit more space. The end result is a very funny, enjoyable way to spend 90 minutes, and one of the best of the spin-off movies, too. Here’s hoping though that for Futurama, this isn’t actually the end… —Jon Foster

Peter Avanzino The latest feature-length DVD spin-off from Matt Groening's terrific Futurama, The Beast With The Billion Backs picks up directly after the recent Bender's Big Score, and the momentum and fun from that production comes along with it.

The story of The Beast With The Billion Backs follows, as you may have guessed from the title, the arrival of a strange creature on Earth. Said creature then takes control of Fry, who becomes the Pope of a brand new religion that soon begins to exert its grip on the planet. And without giving too much away, the panic and paranoia becomes just one part of an ambitious animated adventure, that makes a fair few points among its many, many laughs.

The good news for fans of Futurama is that The Beast With The Billion Backs really delivers, with more guffaws and a better all-round script than the mightily enjoyable Bender's Big Score. It's not without the odd problem, and still doesn't quite manage to match the highs of the TV show at its finest, but it's a very welcome fresh addition to the Futurama universe.

Two further direct-to-DVD movies are in the works at the time of this review being written, and with them comes continued hope for a full-on revival of one of the funniest animated programmes of the past ten years. It may not make suitable family viewing, but Futurama is brilliant television, and The Beast With A Billion Backs offers plenty of evidence as to why. Strongly recommended. —Jon Foster

Set in the year 3000, Futuramais the acme of sci-fi animated sitcom from Simpsonscreator Matt Groening. While not as universally popular as The Simpsons, Futuramais equally hip and hilarious, thanks to its zippy lateral-thinking contemporary pop cultural references, celebrity appearances (Pamela Anderson and Leonard Nimoy are among a number of guest stars to appear as disembodied heads in jars) and Bender, a distinctly Homer Simpson-esque robot. Part of Futurama's charm is that with decades of sci-fi junk behind us we've effectively been living with the distant future for years and can now have fun with it. Hence, the series stylishly jumbles motifs ranging from Lost in Space-style kitsch to the grim dystopia of Blade Runner. It also bridges the gap between the impossible dreams of your average science fiction fan and the slobbish reality of their comic reading, TV-gawping existence. Groening himself distinguishes his two series thus: "The Simpsonsis fictional. Futuramais real."

The opening series (premiered in 1999) sees nerdy pizza delivery boy Fry transferred to the 31st century in a cryogenic mishap. There, he meets the beautiful, one-eyed Leela (voiced by Married with Children's Katey Sagal) and the incorrigible alcoholic robot Bender. The three of them join Fry's great (x30) nephew Professor Farmsworth and work in his intergalactic delivery service. Hyper-real yet strangely recognisable situations ensue—Fry discovers he is a billionaire thanks to 1,000 years accrued interest, Leela must fend off the attentions of Captain Kirk-like Lothario Zapp Brannigan, and Fry accidentally drinks the ruler of a strange planet of liquid beings. —David Stubbs

On the DVD:As with the earlier Fox release of The Simpsons, Season 1this otherwise excellent three-disc set is let down by clunky menu navigation. There are way too many copyright warnings, no "Play All" facility, and you have to click back and forth to begin each new episode or find the additional features. By way of compensation, the menus look great and there's a goodly selection of extras on each disc. The entertaining commentaries are by Matt Groening and various members of his creative team, including producer David X Cohen and John DiMaggio (the voice of Bender) and Billy West (Fry). There are a handful of deleted scenes for certain episodes, plus the script and storyboard for the very first episode and an interactive stills gallery. The 4:3 picture is pin-sharp as is the Dolby 2.0Surround.—Mark Walker

Matt Groening's second series of the 31st century sci-fi sitcom Futuramamaintained the high scripting standards of the first as well bringing improved digital animation. Couch potato Fry now seems thoroughly reconciled to his new existence, transported 10 centuries hence to "New New York" and working for Professor Farnsworth's delivery service. He's surrounded by a cast of freaks, including the bitchily cute Amy (with whom he has a romantic brush) and Hermes, the West Indian bureaucrat. Most sympathetic is the one-eyed Leela (voiced by Katey Sagal). Like Lisa Simpson, she is brilliant but unappreciated; she finds solace in her pet Nibbler, a tiny creature with a voracious, carnivorous appetite. By contrast, Bender, the robot, is programmed with every human vice, a sort of metal Homer Simpson with a malevolent streak.

In one of the best episodes, Bender is given a "feelings" chip in order to empathise with Leela after he flushes Nibbler down the toilet. Elsewhere, Fry falls in love with a Mermaid when the team discover the lost city of Atlanta, Fry and Bender end up going to war after they join the army to get a discount on gum, and John Goodman guest stars as Santa Claus, an eight-foot gun-toting robot. Brimful with blink-and-you'll-miss-them hip jokes (such as the sign for the Taco Bellevue hospital) and political and pop satire, Futuramaisn't a stern warning of things to come but rather, as the programme-makers put it, "a brilliant, hilarious reflection of our own materially (ridiculously) over-developed but morally under-developed society."

On the DVD:Futurama's four-disc package presents the show in 4:3 with a Dolby Digital soundtrack. Among the many extras here are audio commentaries, storyboards, trailers, mock ads for "Soylent Chow" and "Human Rinds" and deleted scenes, including one from "Bender Gets Made" in which he seeks to evade the Robot Mafia by changing his identity. —David Stubbs

Good news, everyone, the third series of Futuramais just as funny as ever—irreverent, boundlessly inventive, warmhearted and chock full of in-jokes, sight gags and fleeting references to all manner of pop culture icons and obscure genre classics. In fact, if the show has a problem it's this very fecundity: it's all so lovingly crafted that scarcely a frame goes by without something both funny and clever going on: when a horse wins a race by a quantum fraction, Prof Farnsworth fulminates "You changed the result by observing it!"

Recurring minor characters (Elzar the chef, the robot mafia, the mutants in the sewers) pop up unexpectedly throughout, providing another wink to dedicated fans; like Red Dwarf, this is a show that loves the genre it sets out to spoof. Shame, then, that the show has had a troubled broadcast history and never quite found the mainstream appeal of its stablemate The Simpsons.

This year, Fry and the Planet Express team find themselves stranded on a planet of unfeasibly large women ("Amazon Women in the Mood"), standing in for psychotic Robo-Santa ("A Tale of Two Santas", with John Goodman reprising his evil robot) and variously falling in love with each other and sundry other humans, aliens, man-bots, fem-bots, virtual reality constructs and even the Planet Express ship itself.

On the DVD:Futurama, Series 3comprises 22 episodes on four discs (see below for complete episode list). As with previous series DVDs the animated menus are a treat and there's a selection of bonus features including deleted scenes, storyboards, selected episode commentaries, animatics, "How to draw" tips and more. Best of all, though, each disc now has a "Play All" facility for the first time. Sheer heaven. —Mark Walker

No more good news everybody—this fourth series of Futuramais the show's last. By turns frenetic and far-sighted, Matt Groening's futuristic comedy provided belly-laughs for self-confessed SF nerds, but somehow failed to connect with a broader audience, even though it was often funnier and sharper than stablemate The Simpsons. So now bid farewell to the Planet Express team—Fry, Leela, Zoidberg, Bender, Amy, Hermes, Prof Farnsworth—as well as to kindly Kif, cloned Cubert, megalomaniac Mom, mutants in the sewer, the cast of robo-sitcom All My Circuits, swashbuckling space lothario and William Shatner wannabe Zapp Brannigan, Elzar the four-armed chef, and all the other characters that made Futuramasuch a unique experience.

This fourth and final year has all the elements that fans enjoyed so much—but also those elements that partially explain its cancellation. Recurring characters are great if you've watched the show before, as are the in-jokes; and the many parodies of classic science fiction are fine for the initiated, but risk leaving other viewers out in the cold. The show's strengths and perceived weaknesses are exemplified in the episode "Where No Fan Has Gone Before", in which the original cast of Star Trekplay themselves: hilarious for Trekkers, but not really for anyone else. Elsewhere we find Leela discovering her real parents aren't aliens at all but in fact live in the sewers; Kif getting pregnant; Fry discovering the fossilised remains of his faithful pet dog; and Bender being converted to steam power. Despite some ups and downs, it's still the funniest animated show on TV. Those responsible for cancelling it can bite my shiny metal …

On the DVD:Futurama, Series 4DVD box set includes a "Play All" function on each disc. Multifarious extras include cast and crew commentaries, deleted scenes, animatics, galleries and Easter eggs. —Mark Walker

Alexander Skarsgård, James Ransone Generation Kill is a miniseries, based on the book by Evan Wright, that’s initial key selling point is a very, very compelling one. The very fact that it’s the latest project from the creators of The Wire, quite possibly the best American television series of the past decade or so, should alone be enough for people to sit up and take notice. Fortunately, the show itself has plenty of merits of its own to stand up on its own two feet.

Generation Kill, spread over seven episodes, follows the opening 40 days of the Iraq war, as viewed through the eyes of Marines’ First Recon Batallion. From there, the show pans out to give a snapshot of the horrors, dramas and sheer brutality of war. It does it though with genuinely three-dimensional characters, who have frailties, moments of humour, friendships and backgrounds. And the show allows space to genuine explore these, much to its credit.

Much like The Wire, Generation Kill doesn’t concern itself with cliffhangers, big action sequences or gimmicks. This is solid, grown-up drama, that treats its viewers as adults and is all the better for it. Granted, it’s not going to be to some tastes, and there are periods of inactivity that may test the patience of some viewers, but this is just the kind of television that people tend to complain that companies don’t make enough of. Well, they just have, and Generation Kill very much deserves success as a result. —Jon Foster

Steve Beck The 'Antonia Graza' has been missing since 1962 so when a group of salvagers discover a mysterious vessel floating off the coast of Alaska they realise that this is its remains. Whilst towing the ship towards harbour strange things start to happen on board and the crew becomes trapped inside...

'Beat' Takeshi Kitano The ideal starter movie for those who wish to familiarise themselves with the work of the paradoxical Japanese auteur, Hana-Bi(the word means "fireworks" in Japanese) is an echtexample of "Beat"'s Takeshi Kitano's distinctive brand of existential crime thrillers. Like Violent Cop, Boiling Point, Sonatineor his LA-set Brother, Hana-Bijuxtaposes shocking bursts of violence with reflective moments of lyricism, setting up a slap-caress-slap rhythm that's as disquieting as it is addictive.

Kitano himself plays weary Tokyo cop Nishi, an impassive-faced detective in hock to yakuzamobsters, toughened by a career in violence (at one point he takes out an attacker's eye with a chopstick, an assault so swiftly edited one barely has time to register it). Nishi's Achilles-heel is his love for his wife Miyuki (Kayoko Kishimoto) who is dying of cancer, following their late daughter to the grave. When Nishi leaves a stakeout to attend to her in hospital, a colleague, Horibe (Ren Osugi) is paralysed in the ensuing shootout. Nishi, guilt-stricken, goes on the run with Miyuki, taking her to beauty spots to enjoy simple pleasures like kite-flying and picnics before she dies, although the yakuzaare never far behind. Meanwhile, Horibe takes up painting, and discovers in the process a calming new vocation (the na&239;ve, disturbing and strangely beautiful images are by Kitano himself, painted after he had his own near-fatal experience in a motorcycle accident).

The cumulative effect is a profoundly moving and enigmatic movie, one that discreetly withholds many of the narrative crutches—backstory, motivation—you would expect from a conventional Hollywood movie with the same story. It's not surprising Kitano is so drawn to characters teeming with contradictions, given that his own career seems so bi-polar on paper: he started out a television presenting clown, and his move into glowering policiers represented an image volte-face as surprising to Japanese audiences as it would be if Dale Winton had started making Scorsese-style gangster movies. His comic sensibility shines through in spots in Hana-Bi, even more so in the broad comedy Kikujiro. Considered by many critics Kitano's best film, Hana-Bi^'s power is augmented by Hideo Yamamoto's lapidary cinematography, and Jo Hisaishi's lush, string-laden score. —Leslie Felperin

Ben Fuller John F.D. Northover Paul Wheeler (IV)

As paranoid cop Del Spooner, Will Smith displays both his trademark quips and some impressive pectoral muscles in I, Robot. Only Spooner suspects that the robots that provide the near future with menial labor are going to turn on mankind—he—he's just not sure how. When a leading roboticist dies suspiciously, Spooner pursues a trail that may prove his suspicions. Don't expect much of a connection to Isaac Asimov's classic science fiction stories;I, Robot, the action movie, isn't prepared for any ruminations on the significance of artificial intelligence. This likable, efficient movie won't break any new ground, but it does have an idea or two to accompany its jolts and thrills, which puts it ahead of most recent action flicks. Also featuring Bridget Moynahan, Bruce Greenwood, and James Cromwell. —Bret Fetzer

Joe Thomas, Simon Bird, Gordon Anderson

After creating the last great traditionally animated film of the 20th century, The Iron Giant, filmmaker Brad Bird joined top-drawer studio Pixar to create this exciting, completely entertaining computer-animated film. Bird gives us a family of "supers," a brood of five with special powers desperately trying to fit in with the 9-to-5 suburban lifestyle. Of course, in a more innocent world, Bob and Helen Parr were superheroes, Mr. Incredible and Elastigirl. But blasted lawsuits and public disapproval forced them and other supers to go incognito, making it even tougher for their school-age kids, the shy Violet and the aptly named Dash. When a stranger named Mirage (voiced by Elizabeth Pena) secretly recruits Bob for a potential mission, the old glory days spin in his head, even if his body is a bit too plump for his old super suit.

Bird has his cake and eats it, too. He and the Pixar wizards send up superhero and James Bond movies while delivering a thrilling, supercool action movie that rivals Spider-Man 2for 2004's best onscreen thrills. While it's just as funny as the previous Pixar films, The Incredibleshas a far wider-ranging emotional palette (it's Pixar's first PG film). Bird takes several jabs, including some juicy commentary on domestic life ("It's not graduation, he's moving from the fourth to fifth grade!").

The animated Parrs look and act a bit like the actors portraying them, Craig T. Nelson and Holly Hunter. Samuel L. Jackson and Jason Lee also have a grand old time as, respectively, superhero Frozone and bad guy Syndrome. Nearly stealing the show is Bird himself, voicing the eccentric designer of superhero outfits ("No capes!"), Edna Mode.

Nominated for four Oscars, The Incredibleswon for Best Animated Film and, in an unprecedented win for non-live-action films, Sound Editing.

The Presentation
This two-disc set is (shall we say it?), incredible. The digital-to-digital transfer pops off the screen and the 5.1 Dolby sound will knock the socks off most systems. But like any superhero, it has an Achilles heel. This marks the first Pixar release that doesn't include both the widescreen and full-screen versions in the same DVD set, which was a great bargaining chip for those cinephiles who still want a full-frame presentation for other family members. With a 2.39:1 widescreen ratio (that's big black bars, folks, à la Dr. Zhivago), a few more viewers may decide to go with the full-frame presentation. Fortunately, Pixar reformats their full-frame presentation so the action remains in frame.

The Extras
The most-repeated segments will be the two animated shorts. Newly created for this DVD is the hilarious "Jack-Jack Attack," filling the gap in the film during which the Parr baby is left with the talkative babysitter, Kari. "Boundin'," which played in front of the film theatrically, was created by Pixar character designer Bud Luckey. This easygoing take on a dancing sheep gets better with multiple viewings (be sure to watch the featurette on the short).

Brad Bird still sounds like a bit of an outsider in his commentary track, recorded before the movie opened. Pixar captain John Lasseter brought him in to shake things up, to make sure the wildly successful studio would not get complacent. And while Bird is certainly likable, he does not exude Lasseter's teddy-bear persona. As one animator states, "He's like strong coffee; I happen to like strong coffee." Besides a resilient stance to be the best, Bird threw in an amazing number of challenges, most of which go unnoticed unless you delve into the 70 minutes of making-of features plus two commentary tracks (Bird with producer John Walker, the other from a dozen animators). We hear about the numerous sets, why you go to "the Spaniards" if you're dealing with animation physics, costume problems (there's a reason why previous Pixar films dealt with single- or uncostumed characters), and horror stories about all that animated hair. Bird's commentary throws out too many names of the! animators even after he warns himself not to do so, but it's a lively enough time. The animator commentary is of greatest interest to those interested in the occupation.

There is a 30-minute segment on deleted scenes with temporary vocals and crude drawings, including a new opening (thankfully dropped). The "secret files" contain a "lost" animated short from the superheroes' glory days. This fake cartoon (Frozone and Mr. Incredible are teamed with a pink bunny) wears thin, but play it with the commentary track by the two superheroes and it's another sharp comedy sketch. There are also NSA "files" on the other superheroes alluded to in the film with dossiers and curiously fun sound bits. "Vowellet" is the only footage about the well-known cast (there aren't even any obligatory shots of the cast recording their lines). Author/cast member Sarah Vowell (NPR's This American Life) talks about her first foray into movie voice-overs—daughter Violet—and the unlikelihood of her being a superhero. The feature is unlike anything we've seen on a Disney or Pixar DVD extra, but who else would consider Abe Lincoln an action figure? —Doug Thomas

Brad Bird

The most successful invigoration of a cinematic franchise since Batman Begins, Casino Royaleoffers a new Bond identity. Based on the Ian Fleming novel that introduced Agent 007 into a Cold War world, Casino Royaleis the most brutal and viscerally exciting James Bond film since Sean Connery left Her Majesty's Secret Service. Meet the new Bond; not the same as the old Bond. Daniel Craig gives a galvanizing performance as the freshly minted double-0 agent. Suave, yes, but also a "blunt instrument", reckless, and possessed with an ego that compromises his judgment during his first mission to root out the mastermind behind an operation that funds international terrorists. In classic Bond film tradition, his global itinerary takes him to far-flung locales, including Uganda, Madagascar, the Bahamas (that's more like it), and Montenegro, where he is pitted against his nemesis in a poker game, with hundreds of millions in the pot. The stakes get even higher when Bond lets down his "armour" and falls in love with Vesper (Eva Green), the ravishing banker's representative fronting him the money.

For longtime fans of the franchise, Casino Royaleoffers some retro kicks. Bond wins his iconic Aston-Martin at the gaming table, and when a bartender asks if he wants his martini "shaken or stirred," he disdainfully replies, "Do I look like I give a damn?" There's no Moneypenny or "Q," but Dame Judi Dench is back as the exasperated M, who one senses, admires Bond's "bloody cheek." A Bond film is only as good as its villain, and Mads Mikkelsen as Le Chiffre, who weeps blood, is a sinister dandy. From its punishing violence and virtuoso action sequences to its ill-fated romance, Casino Royaleis a Bond film that, in the words of one character, makes you feel it, particularly during an excruciating torture sequence. Double-0s, Bond observes early on, "have a short life expectancy." But with Craig, there is new life in the old franchise yet, as well as genuine anticipation for the next one when, at last, the signature James Bond theme kicks in following the best last line ever in any Bond film. To quote Goldie Hawn in Private Benjamin, now I know what I've been faking all these years. —Donald Liebenson

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

The extended editions of Peter Jackson's The Lord of the Ringspresent the greatest trilogy in film history in the most ambitious sets in DVD history. In bringing J.R.R. Tolkien's nearly unfilmable work to the screen, Jackson benefited from extraordinary special effects, evocative New Zealand locales, and an exceptionally well-chosen cast, but most of all from his own adaptation with co-writers Fran Walsh and Philippa Boyens, preserving Tolkien's vision and often his very words, but also making logical changes to accommodate the medium of film. While purists complained about these changes and about characters and scenes left out of the films, the almost two additional hours of material in the extended editions (about 11 hours total) help appease them by delving more deeply into Tolkien's music, the characters, and loose ends that enrich the story, such as an explanation of the Faramir-Denethor relationship, and the appearance of the Mouth of Sauron at the gates of Mordor. In addition, the extended editions offer more bridge material between the films, further confirming that the trilogy is really one long film presented in three pieces (which is why it's the greatest trilogy ever—there—there's no weak link). The scene of Galadriel's gifts to the Fellowship added to the first film proves significant over the course of the story, while the new Faramir scene at the end of the second film helps set up the third and the new Saruman scene at the beginning of the third film helps conclude the plot of the second.

To top it all off, the extended editions offer four discs per film: two for the longer movie, plus four commentary tracks and stupendous DTS 6.1 ES sound; and two for the bonus material, which covers just about everything from script creation to special effects. The argument was that fans would need both versions because the bonus material is completely different, but the features on the theatrical releases are so vastly inferior that the only reason a fan would need them would be if they wanted to watch the shorter versions they saw in theaters (the last of which, The Return of the King, merely won 12 Oscars). The LOTRextended editions without exception have set the DVD standard by providing a richer film experience that pulls the three films together and further embraces Tolkien's world, a reference-quality home theater experience, and generous, intelligent, and engrossing bonus features. —David Horiuchi

Monty Python's Flying Circus, Graham Chapman, John Cleese

This Monty Python Movie Box Set contains all four Python movies: And Now for Something Completely Different (1971), Monty Python and the Holy Grail (1974)—the two-disc set—Monty Python's Life of Brian—including a 50-minute documentary—and Monty Python's The Meaning of Life.

George A. Romero

Ricky Gervais Stephen Merchant It feels both inaccurate and inadequate to describe The Office as a comedy. On a superficial level, it disdains all the conventions of television sitcoms: there are no punch lines, no jokes, no laugh tracks and no cute happy endings. More profoundly, it's not what we're used to thinking of as funny. Most of the fervently devoted fan base that the programme acquired watched with a discomfortingly thrilling combination of identification and mortification. The paradox is that its best moments are almost physically unwatchable.

Set in the offices of a fictional Slough paper merchant, The Office is filmed in the style of a reality television programme. The writing is subtle and deft, the acting wonderful and the characters beautifully drawn: the cadaverous team leader Gareth, a paradigm of Andy McNab's readership; the monstrous sales rep, Chris Finch; and the decent but long-suffering everyman Tim, whose ambition and imagination have been crushed out of him by the banality of the life he dreams uselessly of escaping. The show is stolen, as it was intended to be, by insufferable office manager David Brent, played by cowriter Ricky Gervais. Brent will become a name as emblematic for a particular kind of British grotesque as Alan Partridge or Basil Fawlty, but he is a deeper character than either. Partridge and Fawlty are exaggerations of reality, and therefore safely comic figures. Brent is as appalling as only reality can be. —Andrew Mueller

On the DVD: Series 1 is tastefully packaged as a two-disc set appropriately adorned with John Betjeman's poem "Slough". The special features occupy the second disc and consist of a laid-back 39-minute documentary entitled "How I Made The Office by Ricky Gervais", with cowriter Stephen Merchant and the cast contributing. Here we discover that Gervais spends his time on set "mucking around and annoying people", and that actress Lucy Davis (Dawn) is the daughter of Jasper Carrott; as well as seeing parts of the original short film and the original BBC pilot episode; plus we get to enjoy many examples of the cast corpsing throughout endless retakes. There are also a handful of deleted scenes, none of which were deleted because they weren't funny.

Series 2 is a single-disc release, but the extra features are enjoyable nonetheless. Ricky Gervais and Stephen Merchant feature in a gleefully shambolic video diary—highlights of which include Gervais flicking elastic bands at his cowriter and taping their editor to his swivel chair. The ubiquitous Gervais also mockingly introduces some outtakes (mostly of him corpsing throughout dozens of takes) and a series of deleted scenes, notably of Gareth arriving in his horrendous cycle shorts. —Mark Walker

The two-part conclusion to The Office bids farewell to David Brent and his long-suffering co-workers in a surprisingly poignant not to say dignified manner. Supposedly accompanied by the fly-on-the-wall documentary crew three years after his highly undignified exit from Slough-based paper merchants Wernham Hogg, the first part reveals Brent as a travelling salesman by day and D-list "celebrity" by night, enduring humiliating club appearances organised by his clueless manager. But Brent can't keep away from his old stamping-ground in Slough, especially with the imminent prospect of the annual Christmas party. As much to spite suave rival Neil as anything else, Brent is on an agonisingly painful hunt for a date to bring along.

Back at Wernham Hogg, lovelorn Tim has to endure not only the officious behaviour of Gareth, now his manager, but also a cheerless existence bereft of Dawn, who is living in Florida with boorish fiancé Lee. Matters are brought to a head for all concerned—including Lee and Dawn, flown over specially for the occasion—when they finally gather in the office for the party.

As ever the script is full of priceless one-liners (witness big Keith's chat-up spiel, as he promises "at least one orgasm" to any woman), and the show is peppered with those direct appeals to camera (Tim's weary "I don't believe he just said that" look, Brent's desperate self-justificatory "Eh?"), as well as achingly effective silences that simultaneously enhance the fly-on-the-wall conceit and heighten the comic effect. Without descending into the sentimental or the trite, somehow The Office closes for business on a genuinely heartwarming note.

On the DVD: This single disc has good, if unexceptional, bonus features. There's a behind-the-scenes documentary in similar format to those on the previous releases, a commentary from Stephen Merchant and Ricky Gervais on Episode 2, a funny and deservedly self-congratulatory featurette on the Golden Globe Awards ceremony, the full video of David Brent's single "If You Don't Know Me By Now" plus a recording session for "Freelove Freeway" (with Noel Gallagher on backing vocals). —Mark Walker

Mike Judge Office Spaceis a movie for anyone who's ever spent eight hours in a "Productivity Bin", had to endure a smarmy, condescending boss, had worries about layoffs, or just had the urge to demolish a temperamental printer or fax machine. Peter (Ron Livingston) spends the day doing stupefyingly dull computer work in a cubicle. He goes home to an apartment sparsely furnished by IKEA and Target, then starts for a maddening commute to work again in the morning.

His co-workers in the cube farm are an annoying lot, his boss is a snide, patronising jerk, and his days are consumed with tedium. In desperation, he turns to career hypnotherapy, but when his hypno-induced relaxation takes hold, there's no shutting it off. Layoffs are in the air at his corporation and with two colleagues (both of whom are slated for the chute) he devises a scheme to skim funds from company accounts. The scam soon snowballs, however, throwing the three into a panic until the unexpected happens and saves the day.

A little bit like a US version of The Office, director Mike (King of the Hill) Judge's debut movie is a spot-on look at work in corporate America circa 1999. With well-drawn characters and situations instantly familiar to the white-collar milieu, he captures the joylessness of many a cube denizen's work life perfectly. Jennifer Aniston, a waitress at Chotchkie's, a generic beer-and-burger joint, plays Peter's love interest and Diedrich Bader has a minor but hilarious turn as Peter's moustached, long-haired, drywall-installin' neighbour. —Jerry Renshaw

Becky Martin

Becky Martin The multi award-winning and critically acclaimed comedy returns to DVD for a fifth series. Peep Show continues to delve into the innermost thoughts of Mark (David Mitchell) - the conventional one seething with inner rages and desires - and Jeremy (Robert Webb) - the loose cannon full of expressed rages and desires - but seething with even more rage on the inside.

Mark and Jeremy are entering their 30s with failed marriages behind them, few prospects, and a sense of impending crisis. Time is running out for them to sort out their lives. Jeremy's mother appears on the scene and it soon becomes clear why he's ended up as he is. Mark goes speed dating, and discovers money can buy you love. Jeremy and Superhans (Matt King) play at a Christian Rock Festival; the flat suffers multiple burglaries and the boys endure their worst ever night out - at the theatre.

Extras:
BEHIND THE SCENES with Sam Bain and Jesse Armstrong guiding you through the production process, from how they get ideas for the series, read throughs and rehearsals with cast, to shooting on set and on location to the final product!

PEEP SHOW RELATIONSHIP TREE - your guide to whose slept with whom throughout all the Peep Show series'… this is a trip through Mark and Jeremy's love lives throughout series 1-5, with clips and graphics to explain the various connections!

DELETED SCENES

SOPHIE'S POV - existing scenes from episode 6 written by Sam and Jesse from Sophie's point of view.

Brad Bird, Jan Pinkava As good a film as Pixar has ever put out, Ratatouille is a frantic, innovative movie, boasting some of the finest quality animation ever put on the screen.

Ratatouille tells the story of wannabe-chef Remy The Rat, who becomes drawn into the mantra of legendary cook Gusteau, that anyone can cook. The deceased Gusteau's ghostly image appears to Remy, and guides him to his restaurant, whose standards have been slipping since his death. Remy, through the manipulation of a lowly restaurant worker called Linguini, soon starts secretly cooking the food, and this unusual set up proves to be a trove of treasures that Pixar carefully picks through.

Ratatouille's trick is to tie its cutting edge animation techniques to old-school essentials. At times harking back to the frenetic style you'd expect of Chuck Jones, it threads an original narrative through its story, which itself is packed with memorable characters (none more so than Peter O'Toole's superbly-voiced restaurant critic). It perhaps runs a little too long, but it's so well-written and so lavishly entertaining that it's a churlish complaint to have.

For in an era of cynically-produced family movies, Ratatouille is really something special. With an appeal that spreads across generations, and a quality that puts it right up there with Pixar's finest, it's an outstanding piece of cinema, and one set to be enjoyed for many, many years. Unmissable. —Simon Brew

Ed Bye The third series of Red Dwarfintroduced some radical changes—all of them for the better—but the scripts remained as sharp and character-focussed as ever, making this a firm candidate for the show's best year. Gone were the dull metallic grey sets and costumes, gone too was Norman Lovett's lugubrious Holly, replaced now by comedienne Hattie Hayridge, who had previously played Hilly in the Series 2 episode "Parallel Universe". New this year were custom-made costumes, more elaborate sets, the zippy pea-green Starbug, bigger special effects and the wholly admirable Robert Llewellyn as Kryten.

The benefits of the show's changes are apparent from the outset, with the mind-bending hilarity of "Backwards", in which Kryten and Rimmer establish themselves as a forwards-talking double-act on a reverse Earth. After a modest two-hander that sees Rimmer and Lister "Marooned", comes one of the Dwarf's most beloved episodes, "Polymorph". Here is the ensemble working at its best, as each character unwittingly has their strongest emotion sucked out of them. Lister loses his fear; Cat his vanity; Kryten his reserve; and Rimmer his anger ("Chameleonic Life-Forms. No Thanks"). "Body Swap" sees Lister and Rimmer involved in a bizarre attempt to prevent the ship from self-destructing. "Timeslides" delves deep into Rimmer's psyche as the boys journey haphazardly through history. Finally, "The Last Day" shows how completely Kryten has been adopted as a crewmember, when his replacement Hudzen unexpectedly shows up.

On the DVD:Red Dwarf, Series 3two-disc set maintains the high standard of presentation and wealth of extra material established by its predecessors. Among other delights there are the usual "Smeg Ups" and deleted scenes, plus another fun commentary with the cast. There's a lengthy documentary, "All Change", specifically about Series 3, a tribute to costume designer Mel Bibby, Hattie Hayridge's convention video diary, and—most fascinating—the opportunity to watch "Backwards" played forwards, so you can finally understand what Arthur Smith's backwards-talking pub manager actually says to Rimmer and Kryten in the dressing room. —Mark Walker

Ed Bye By the end of this fourth year, Red Dwarfhad completed its metamorphosis from a modest studio-bound sitcom with a futuristic premise to a full-blown science-fiction series, complete with a relatively lavish (by BBC standards) special-effects budget, more impressive sets and more location shooting. Despite the heavier emphasis on SF, the character-based comedy remained as sharp as ever. Witness the Cat's reaction to Lister's pus-filled exploding head; Kryten's devastatingly sarcastic defence of Rimmer; or, the classic scene that opens the series, Lister teaching Kryten to lie.

In "Camille", Robert Llewellyn's real-life wife plays a female mechanoid who transforms into something else entirely, as does the episode, which by the end becomes a delightful skit on Casablanca. "DNA" comes over all SF, with lots of techno-speak about a matter transmogrifier and a RoboCophomage—but in typical Dwarffashion, turns out to be all about curry. "Justice" sees Rimmer on trial for the murder of the entire crew, while Lister attempts to evade a psychotic cyborg. Holly gets her IQ back in "White Hole", but wastes time debating bread products with the toaster. "Dimension Jump" introduces dashing doppelganger Ace Rimmer for the first time—he was to return in later series, with diminishingly funny results. Here his appearance is all the better for its apparent improbability. Finally, "Meltdown" goes on location (to a park in North London) where waxdroids of historical characters (played by a miscellaneous selection of cheesy lookalikes) are at war. Only intermittently successful, this episode is really memorable for Chris Barrie's tour-de-force performance, as Rimmer becomes a crazed, Patton-esque general.

On the DVD:Red Dwarf, Series 4, like its predecessors, comes as a two-disc set complete with full cast commentary for every episode, an extensive retrospective documentary (mostly featuring the cast reminiscing), deleted scenes and lots of other fun bits of trivia. —Mark Walker

It's brown alert time all over again for Red Dwarffans with the fifth season of the much-loved sci-fi/comedy series. Episode-wise, it's business as usual for the crew of the Red Dwarf—that is, if one considers encountering an alien squid that squirts a despair-inducing hallucinogen ("Back to Reality", later voted the best episode of the series by viewers and Stephen Hawking!), evil (and not particularly bright) versions of the crew ("Demons and Angels"), a virus that causes insanity ("Quarantine"), and a trip to a moon created entirely from the mind of the insufferable hologram Rimmer ("Terrorform") business as usual.

In short, it's six hilarious episodes, highlighted by the typically terrific writing of creators Rob Grant and Doug Naylor (who also direct two episodes). As with the previous deluxe DVD releases, Series Vfeatures a wealth of supplemental features, the most intriguing of which is a look at the failed attempt to recreate the show in America (with U.K. cast member Robert Llewellyn and Star Trek: Deep Space Nine's Terry Farrell as Cat). Also included are cast and fan commentaries, featurettes on the show's "science" and villains, special effects tests, blooper reels, and a sampling of Grant and Naylor's BBC 4 radio sketch "Dave Hollins, Space Cadet", which served as the inspiration for Red Dwarf. Dedicated DVD owners will also be rewarded by Easter eggs lurking throughout the menus. —Paul Gaita

Series 6 is possibly the most eagerly awaited of the Red DwarfDVD sets, due to its acclaimed third episode, "Gunmen of the Apocalypse", which earned the program an International Emmy Award in 1994. However, the five other episodes in the series have their own share of absurd laughs, and the two-disc set features enough supplemental features to keep even the most demanding RDfan happy. The crux of series 6 is that the Red Dwarfhas been stolen (no thanks to Lister, who can't remember where he left it), and the crew must recover it; their pursuit brings them in contact with brain-consuming aliens ("Psirens", with guest star Jenny Agutter), a polymorph that turns Rimmer and Cat into their alternate identities from Series V ("Emohawk—Polymorph II"), the Four Horsemen of the Apocalypse tricked out as gunslingers ("Gunmen of the Apocalypse"), an army of Rimmer clones ("Rimmerworld"), and finally, their own future selves, who turn out to be particularly awful (worse than the present-day ones, that is), and cause a cliffhanger ending that just might spell the end for the Red Dwarf crew.... In short, series 6 more than earns its popular status among Red Dwarf's fanbase, thanks to its sharp writing (sadly, it would be the last series to feature scripts by co-creator Rob Grant) and energetic performances. And the double-disc set matches the quality of the programs with some terrific extras, including commentaries by the RD crew and fans (the latter on "Gunmen of the Apocalypse" only), and featurettes on composer Howard Goodall and series director Andy de Emmony; these are rounded out by the usual collections of "smeg-ups" (bloopers), deleted scenes, behind-the-scenes footage, and another episode of the "Dave Hollins, Space Cadet" radio sketch that inspired the show. And again, the most patient of viewers will find Easter eggs on the menus (happy hunting). —Paul Gaita

Hideo Nakata A major box office hit in the Far East, Hideo Nakada's Ringis a subtly creepy Japanese ghost story with an urban legend theme, based on a series of popular teen-appeal novels by Susuki Koji. Far less showy than even the restrained chills of The Blair Witch Projector The Sixth Sense, Ringhas nevertheless become a mainstream blockbuster and has already been followed by Ring 2and the prequel Ring 0. A Hollywood remake is in the works.

Investigating the inexplicable, near-simultaneous deaths of her young niece and three teenage friends, reporter Asakawa (Nanako Matsushima) learns of a story about a supernaturally cursed video-tape circulating among school kids. As soon as anyone has watched the tape, allegedly recorded by mistake from a dead TV channel, the telephone rings and the viewer has exactly a week to live. Those doomed are invisibly marked, but their images are distorted if photographed. Inevitably, Asakawa gets hold of the tape and watches it. The enigmatic collage of images include a coy woman combing her hair in a mirror, an old newspaper headline about a volcanic eruption, a hooded figure ranting, people crawling and a rural well. When the phone rings (a memorably exaggerated effect), Asakawa is convinced that the curse is active and calls in her scientist ex-husband Ryuji (Hiroyuki Sanada) to help. He watches a copy of the video a day after Asakawa is exposed and willingly submits himself to the curse. Even more urgency is added to their quest when their young son is unwittingly duped, apparently by the mystery woman from the tape, into watching the video too, joining the queue for a supernatural death.

On the DVD:For a film made in the digital era, the letterboxed (16:9) print is in mediocre state, with a noticeable amount of scratching, though the Dolby Digital soundtrack is superb, making this a film that's as scary to listen to as it is to watch (the squeamish might find themselves covering their ears rather than their eyes in some scenes). Otherwise, there are trailers for the first two Ringfilms and Audition, 10 stills, filmographies for the principals, a review by Mark Kermode, blurb-like extracts from other reviews and the ominous option of playing Sadako's video after a solemn disavowal of responsibility from the distributors! —Kim Newman

Serenityis a film that, by rights, shouldn't have been made. For starters, it's spun out of the short-lived and quickly-cancelled TV series Firefly, which has only itself got the full recognition it deserves on DVD. It then marries up two seemingly incompatible genres, the western and science fiction, has no major stars to speak of, and pretty much has `hard sell' written all over it.

Perhaps that explains its modest box office performance back in 2005. What it fails to reflect, however, is that this is one of the most energetic, downright enjoyable sci-fi flicks in some time. Not for nothing did many rate it higher than the Star Warsmovie that appeared in the same year.

It follows renegade captain Mal Reynolds and his quirkily assembled crew, as they work on the outskirts of space, trying to keep out of the way of the governing Alliance. That plan quickly changes when they take on a couple of passengers who have attracted the attention of said Alliance, and thus the scene is set for an action-packed, cleverly written movie that deserves many of the plaudits that have rightly been thrust in its direction.

What's more, Serenityworks whether you've seen the TV series that precedes it or not. Clearly fans of the Fireflyshow will be in their element, but even the casual viewer will find an immense amount to enjoy.

The only real problem is that given the film's box office returns, further adventures of Reynolds and his crew look unlikely. Unless Serenityturns into a major hit on DVD, that is. It's well worth playing your part in making that happen.—Simon Brew

David Worth

It's no disparagement to describe Simon Pegg and Edgar Wright’s zombie-rom-com Shaun of the Deadas playing like an extended episode of Spaced. Not only does the movie have the rather modest scope of a TV production, it also boasts the snappy editing, smart camera moves, and deliciously post-modern dialogue familiar from the sitcom, as well as using many of the same cast: Pegg’s Shaun and Nick Frost’s Ed are doppelgangers of their Spacedcharacters, while Jessica Stevenson and Peter Serafinowicz appear in smaller roles. Unlike the TV series, it’s less important for the audience to be in on the movie in-jokes, though it won’t hurt if you know George Romero’s famous Dawn of the Deadtrilogy, which is liberally plundered for zombie behaviour and mythology.

Shaun is a loser, stuck in a dead-end job and held back by his slacker pal Ed. Girlfriend Liz (Kate Ashfield) is exasperated by his lack of ambition and unceremoniously dumps him. As a result, Shaun misses out on what is apparently the end of the world. In a series of beautifully choreographed and edited scenes, including hilarious tracking shots to and from the local shop, he spectacularly fails to notice the death toll and subsequent zombie plague. Only when one appears in their back garden do Shaun and Ed take notice, hurling sundry kitchen appliances at the undead before breaking out the cricket bat. The catastrophe proves to be the catalyst for Shaun to take charge of his life, sort out his relations with his dotty mum (Penelope Wilton) and distant stepdad (Bill Nighy), and fight to win back his ex-girlfriend. Lucy Davis from The Officeand Dylan Moran of Black Booksfame head the excellent supporting cast. —Mark Walker

Both of the hit animated movies in one package.

Full of verve and wit, Shrek is a computer-animated adaptation of William Steig's delightfully fractured fairy tale. Our title character (voiced by Mike Myers) is an agreeable enough ogre who wants to live his days in peace. When the diminutive Lord Farquaad (John Lithgow) evicts local fairy tale creatures (including the now-famous Seven Dwarfs, Pinocchio and the Gingerbread Man), they settle in the ogre's swamp and Shrek wants answers from Farquaad. A quest of sorts starts for Shrek and his new pal, a talking donkey (Eddie Murphy), where battles have to be won and a princess (Cameron Diaz) must be rescued from a dragon lair in a thrilling action sequence. The story is stronger than most animated fare but it's the jokes that make Shrek a winner. The PG rating is stretched when Murphy and Myers hit their strides. The mild potty humour is fun enough for the 10-year-old but will never embarrass their parents. Shrek is never as warm and inspired as the Toy Story films, but the realistic computer animation and a rollicking soundtrack keeps the entertainment in fine form. Produced by DreamWorks, the film also takes several delicious stabs at its cross-town rival, Disney. —Doug Thomas

In Shrek 2, the newlywed Shrek and Princess Fiona are invited to Fiona's former kingdom, Far Far Away, to have their marriage blessed by Fiona's parents—which Shrek thinks is a bad, bad idea, and he's proved right: the parents are horrified by their daughter's transformation into an ogress, a fairy godmother wants her son Prince Charming to win Fiona, and a feline assassin is hired to get Shrek out of the way. The computer animation is more detailed than ever, but it's the acting that make the comedy work—in addition to the return of Mike Myers, Eddie Murphy, and Cameron Diaz, Shrek 2 features the flexible voices of Julie Andrews, John Cleese and Antonio Banderas, plus Jennifer Saunders as the gleefully wicked fairy godmother. —Bret Fetzer

Jim Reardon Pete Michels Even as we arrive at season ten, these SimpsonsDVD boxsets remain irresistible. Put together comprehensively and with real care, this latest release upholds the standard for terrific (and many) DVD extras to back up and complement the episodes themselves.

Season ten of The Simpsonsfeatures 23 episodes, spread across four discs, and there are some belters contained within. "Lard Of The Dance", for instance, finds Homer and Bart trying to steal and sell grease, against the backdrop of Lisa's school dance. "Lisa Gets An `A'" meanwhile sees the Simpsons' eldest daughter getting addicted to videogames, while "Mayored To The Mob" throws in Mark Hamill and a science fiction convention. Quite brilliant stuff.

The lazy argument though is that by season ten, The Simpsonswas on the slide, but there's plenty of compelling evidence in this boxset to counter that. Sure, not every episode's a classic, but there are a lot of laughs and much entertainment to be gleamed here.

Furthermore, when you factor in the commentaries, deleted scenes, sketch gallery and look at the upcoming film, once again the stops have been pulled off for a distinguishable TV collection. Again, The Simpsons—in more than one sense—sets the standard that the others look up to. —Jon Foster

David Silverman, Steven Dean Moore, Mark Kirkland, Bob Anderson, Mike B. Anderson

The classic to clunker ratio is still extraordinarily high, though The Simpsons'sixth season could give some devoted viewers pause. The show that takes cheeky delight in mooning television convention gives us "Another Simpsons Clip Show" and its first season-ending cliffhanger, "Who Shot Mr. Burns?" And, as does Bart in "A Star Is Burns," we should all feel a little dirty at the "cheap cartoon crossover" appearance of Jay Sherman (Jon Lovitz), designed to give a boost to the ill-fated animated series The Critic. But this is just beard-stroking tongue-clucking regarding a season that delivered episodes that rank in the hallowed The Simpsonspantheon, among them, "Homer Badman," in which lust for a gummy Venus de Milo, peeled from the behind of an unwitting babysitter, makes Homer the object of feminist protest and tabloid TV fodder, and "Homer the Great," in which Homer is discovered to be the Chosen One to lead the secret society, "The Stonecutters" ("Who holds back the electric car/Who made Steve Guttenberg a star?/We do!"). Several episodes take their inspiration from classic films and books: Hitchcock's Rear Window("Bart of Darkness"); Michael Crichton's Westworldand Jurassic Park("Itchy and Scratchy Land"); and Stephen King and Ray Bradbury ("Treehouse of Horror V").

This season's roster of guest voices is also especially impressive, including Winona Ryder as "Lisa's Rival," Meryl Streep as Rev. Lovejoy's bad-seed daughter ("She's like a Milk Dud," a smitten Bart laments. "Sweet on the outside, poison on the inside"), the late Anne Bancroft in "Fear of Flying"; Patrick Stewart in "Homer the Great"; Mel Brooks and Susan Sarandon in "Homer vs. Patty and Selma," and Mandy Patinkin as Lisa's future fiancée in the surprisingly moving "Lisa's Wedding." There has, of late, been a feud a-brewin' between fans of The Simpsonsand Family Guy. Which show is funnier? Has The Simpsonslost it? Is Family Guya Simpsons-wannabe? Hey; Can't we all just laugh along? Best to just marvel at another exemplary Simpsons season that, to quote Homer in "Lisa's Rival," delivers it all: "The terrifying lows, the dizzying highs, the creamy middles."—Donald Liebenson, Amazon.com

David Silverman Racking up impressive box office numbers right across the globe, the arrival of The Simpsons Movieonto the big screen proved, for many, to be more than worth the wait. But with its DVD release, there's a compelling argument that Springfield's finest have come back to their natural home.

The film itself is primarily Homer-centred, with the head of The Simpsonsfamily seemingly consigning Springfield to certain doom when he dumps his waste where he shouldn't. But, in the true spirit of the show, the plot takes a relative back seat to the antics of America's first family.

And it's those antics that offer the film's gold. As you'd hope, it boasts several laugh-out-loud moments, from visual gags (the rock and hard place being a favourite) through to the by-now infamous Spider-pig. There's not quite enough material to keep the chuckle counter going for the full duration of The Simpsons Movie, and the criticism that it's effectively three episodes strung together has some truth to it. But you'd still be hard-pushed to complain for one key reason: The Simpsons Movieis grand entertainment, with plenty of rewatch potential.

So while you can add us to the queue of people who wanted more Mr Burns, and while it doesn't quite measure up to some of the show's best episodes, The Simpsons Moviestill delivers, and does it with some quality. And Spider-pig isa work of genius…—Jon Foster

David Silverman Wesley Archer From practically the first episode, broadcast in 1989, The Simpsonsimpacted on planet TV like a giant multi-coloured meteor. With a claim to being the defining pop cultural phenomenon of the 1990s—hip, fast, sharp and primary—there was nothing even in rock & roll to match this. The Simpsonsis possibly the greatest sitcom ever made. Although the animation was initially primitive, never before had cartoon charactersbeen so well drawn. There had been loveable middle-aged layabouts on TV before, but Homer Simpson successfully stole their crown and out-slobbed them all in every department ("The guys at the plant are gonna have a field day with this," he grumbles in "Call of The Simpsons" as he watches scientists on a TV news item who can't decide whether he is incredibly dense or a brilliant beast). However, in this first series he isn't quite yet the bloated man-child he would become in later series; instead he's a growling patriarch with a Walter Matthau-type voice. His sensible half Marge's croak, meanwhile, has yet to settle down, while the vast cast of minor Springfield characters have yet to find their place. Bart, however, was a smash from the start: dumb as Homer but spiky-haired and resourceful, he sets out his manifesto in "Bart the Genius"; while "Moaning Lisa" spotlights his over-achieving sister and is a good early example of the series' clever handling of melancholy bass notes.

Throughout its life there's always been confusion as to whether The Simpsonsis a show for kids or adults, but with allusions in these first 13 episodes to Kubrick, Diane Arbus, Citizen Kaneand (in a very satisfyingly anti-French episode) Manon des Sources, it should already have been clear that this was a programme for all ages and all IQs from 0 to 200. Dysfunctional they may have been, but the Simpsons stuck together, and audiences stuck with them into the 21st century. —David Stubbs

On the DVD:The packaging is good but the 13 episodes are spread very thinly here, with just five each on discs one and two . The commentary track is intermittently interesting though a tad repetitive, as creator David Groening is joined by various other members of the team. The third disc has some neat extra stuff, including outtakes, the original Tracey Ullman Show shorts and a five-minute BBC documentary, but is again fairly brief. The menu interfaces are pretty clunky, annoyingly forcing you to watch endless copyright warnings after each episode and with no facility to "play all". The content is wonderful, of course, but three discs looks like overkill. —Mark Walker

First aired in 1990-91, the second series of The Simpsonsproved that, far from being a one-joke sitcom about the all-American dysfunctional family, it had the potential to become a whole hilarious universe. The animation had settled down (in the first series, the characters look eerily distorted when viewed years later), while Dan Castellaneta, who voiced Homer, decided to switch from a grumpy Walter Matthau impression to a more full-on, bulbous wail. The series' population of minor characters began to grow with the inclusion of Dr Hibbert, McBain and attorney Lionel Hutz, while the writers became more seamless in their ability to weave pastiche of classic movies into the plot lines. While relatively "straight" by later standards (the surreal forays of future seasons are kept in check here), Season Two contains some of the most memorable episodes ever made, indeed some of the finest American comedy ever made.

These include "O Brother, Where Art Thou?", in which Homer is reunited with, and ruins the business of, his long-lost brother ("He was an unbridled success—until he discovered he was a Simpson"), "Dead Putting Society", in which Homer lives out his rivalry with neighbour Ned Flanders through a crazy-golf competition between the sons ("If you lose, you're out of the family!") and one of the greatest ever episodes, "Lisa's Substitute", which not only features poor little Lisa's crush on a supply teacher voiced by Dustin Hoffman but also Bart's campaign to become class president. "A vote for Bart is a vote for anarchy!", warns Martin, the rival candidate. By way of a retort, Bart promises faithfully, "A vote for Bart is a vote for anarchy!". —David Stubbs

On the DVD:The Simpsons, Season 2, like its DVD predecessor, has neat animated menus on all four discs as well as apparently endless copyright warnings, but nothing as useful as a "play all" facility. The discs are more generously filled than Season 1, however, and each episode has an optional group commentary from Matt Groening and various members of his team. The fourth disc has sundry snippets including the Springfield family at the Emmy Awards ceremony, Julie Kavner dressed up as Bart at the American Music Awards and videos for both "Do the Bartman" and "Deep, Deep Trouble" (all with optional commentary). There are two short features dating from 1991: director David Silverman on the creation of an episode and an interview with Matt Groening. TV commercials for butterfinger bars, foreign language clips and picture galleries round out the selection. Picture is standard 4:3 and the sound is good Dolby 5.1. —Mark Walker

First broadcast in 1991 the third series of The Simpsonscontains a clutch of candidates for "Best SimpsonsEpisode Ever". Homer is on such appallingly good form throughout this series that a reasonable case can be made for asserting that he has superseded the importance of his Greek namesake in the annals of culture and civilisation.

The opening "Stark Raving Dad", for instance, features a guest appearance by an un-credited Michael Jackson, who plays an obese white inmate whom Homer meets while confined to a mental institution. Other standout episodes include "Like Father, Like Clown", in which Krusty reveals he is estranged from his Rabbi father; this is The Simpsonsat the height of its powers, mature, ironic, erudite and touching while bristling with slapstick and Bart-inspired cheek. "Flaming Moe's" features Aerosmith and sees Homer invent a cocktail which desperate, sleazy bartender Moe steals from him. "Radio Bart" is another demonstration of the series' knack for cultural references, parodying the Billy Wilder movie Ace in the Hole. Finally, there's "Brother Can You Spare Two Dimes", in which Danny DeVito reprises his role as Homer's brother, regaining the fortune Homer lost him by inventing a Baby Translator.

Immensely enjoyable at anything from a primary to a doctoral thesis level, this third year of the show demonstrates conclusively that The Simpsonsis quite simply, and by a large margin, the greatest television programme ever made. —David Stubbs

By its fourth series, The Simpsonshad come far enough for Lisa to make a self-referential joke about Dustin Hoffman's and Michael Jackson's pseudonymous guest voice appearances in series 2 and 3, respectively. In this series, no less than Elizabeth Taylor (in two episodes), Bette Midler and even the reclusive Johnny Carson blessed The Simpsonswith their iconic presences. Awhile back, US magazine Entertainment Weeklyranked the top 25 Simpsons episodes. Five gems from series 4 cracked the top 12, including the (debatable) choice for No. 1, "Last Exit to Springfield". Other episodes that loom large in the Simpsons legend are "Mr Plow" (you know the jingle: "Call Mr Plow / That's my name / That name again is Mr Plow"), "Marge vs. the Monorail", featuring a Music-Man-style extravaganza, and "A Streetcar Named Marge", the episode that outraged New Orleans residents, who heard their fair metropolis referred to as "a city that the damned call home".

The Simpsonssmartly subverts traditional family sitcom convention, but anyone who thinks the show doesn't have a heart is advised to watch "I Love Lisa" and "New Kid on the Block", two fourth-series gems that absolutely nail the agony and ecstasy of unrequited crushes ("You won't be needing this", a heartbroken Bart fantasises his babysitter saying while dropkicking his heart into a wastebasket in "New Kid"). While the Simpsons' celebrated ensemble gets all the glory, we must pause now to praise the peerless writing staff, among them George Meyer, Al Jean, Jon Vitti, John Swartzwelder, David Silverman and Conan O'Brien. One can only marvel in astonishment at the alchemy that went into creating, week after week, such essential episodes as "Kamp Krusty", "Streetcar", the profane and profound "Homer the Heretic" and "Lisa the Beauty Queen" (and that's just disc 1!). The animators, too, rose to the occasion, particularly in "Itchy & Scratchy: The Movie", with its dead-on, ultra-violent sinking of the seminal Disney cartoon "Steamboat Willie". Another benchmark in The Simpsons' rise to the TV pantheon is its very first clip show. What Homer says about donuts in "Monorail" holds true as well for The Simpsonsitself: is there anything this show can't do? —Donald Liebenson

Sixteen seasons (and counting) of pop culture-rocking brilliance, the first four of which have already been gloriously archived on DVD. But in the words of Krusty the Clown: "What has The Simpsons done for me lately?" Well, how about all 22 episodes of season 5, each accompanied by commentary, deleted scenes, and other encyclopedic extras that hopelessly devoted Simpsons fans crave, no, demand? Season 5 is perhaps not as classics-packed as the third or fourth seasons, but no self-respecting Simpsons fan should be without the episodes "Homer's Barbershop Quartet", featuring George Harrison, "Cape Feare", one of Sideshow Bob's (and guest voice Kelsey Grammer's) finest half-hours, "Rosebud", "Springfield (Or, How I Learned to Stop Worrying and Love Legalized Gambling)" and "Bart Gets Famous", with the Springfield-sweeping catchphrase "I didn't do it". Plus, the star power this season is impressive: Michelle Pfeiffer as Homer's comely, donut-loving co-worker in "The Last Temptation of Homer", Albert Brooks as a self-help guru who unleashes "Bart's Inner Child", Kathleen Turner as the creator of Malibu Stacy in "Lisa vs. Malibu Stacy", and, as themselves, the Ramones ("Rosebud"), James Woods ("Homer and Apu"), Buzz Aldren ("Deep Space Homer"), and even Robert Goulet ("Springfield").

But it is the writers and the core ensemble cast who exhibit, to quote "Deep Space Homer", "the right... What's that stuff?" Series milestones include the first appearance of yokel Cletus in "Bart Gets an Elephant" and Maggie's infant nemesis, The Baby with One Eyebrow in "Sweet Seymour Skinner's Badasssss Song" which also happens to be The Simpsons' 100th episode. Add in a very good "Treehouse of Horror" episode, (which outs Ned Flanders as the Devil and Marge as the head vampire), and one Emmy-nominated musical extravaganza ("Who Needs the Quick-E-Mart" from "Homer and Apu"), and you have a Simpsons season that's not just great, it's DVD-box-set great. —Donald Liebenson

Robert Rodriguez, Quentin Tarantino, Frank Miller

Edgar Wright Spacedis a sitcom like no other. The premise is simple enough: Daisy (Jessica Stevenson) and Tim (Simon Pegg) are out of luck and love, so pretend to be a couple in order to rent a flat together. Downstairs neighbour and eccentric painter Brian suspects someone's fibbing, and almost blows their cover with their lecherous lush of a landlady, Marsha. Fortunately he soon falls for Daisy's health-freak friend Twist, while Daisy herself goes ga-ga for pet dog Colin. Tim remains happily platonic with lifemate Mike; a sweet-at-heart guns 'n' ammo obsessive. The series is chock-full of pop culture references. In fact, each episode is themed after at least one movie, with nods to The Shiningand Close Encounters of the Third Kindproving especially hilarious. Hardly five minutes goes by without a Star Warsreference, and every second of screen time from Bill Bailey as owner of the comic shop where Tim works is comedic gold. The look of the series is its other outstanding element, with slam-zooms, dizzying montages, and inspired lighting effects (often paying homage to the Evil Deadmovies). It's an affectionate fantasy on the life of the twenty-something that's uncomfortably close to the truth.

The second series finds the gang at 23 Meteor Street a little older, but definitely none the wiser. Tim's career is hampered by severe hang-ups over The Phantom Menace. Daisy's career is just plain non-existent. There is still a spark of sexual tension between them, but it's overshadowed by Brian and Twist getting it on. Propelling the seven-episode series arc is the threat of Marsha discovering that none of the relationships are what they seem, Mike's increasing jealousy and a new love interest for Tim. That's the basis for a never-ending stream of in-jokes and references that easily match the quality of the first series. Tim has a Return of the Jediflashback, then déjà vu in reliving the end of The Empire Strikes Back. There are spoofs of One Flew Over the Cuckoo's Nest, Robocop, The Sixth Senseand comedy rival The Royle Family. There are guest spots from Bill Bailey, Peter (voice of Darth Maul) Serafinowicz and The League of Gentlemen's Mark Gatiss and Reece Shearsmith. Every episode is packed with highlights, but this series' guaranteed geek pant-wetting moments have to be the mock gun battles, slagging off Babylon 5and learning that "The second rule of Robot Club is: no smoking." Jessica Stevenson won a British Comedy Award for this year. It deserved a whole lot more. —Paul Tonks

On the DVD:This three-disc collector's edition contains all the extras from the previous DVD releases, plus a host of brand new features including music promos, cast interviews, and an in-depth and specially filmed documentary featuring interviews with cast members including Simon Pegg, Jessica Stevenson, Nick Frost, cameo actors (Bill Bailey, David Walliams, Mark Gatiss, Reece Shearsmith) and journalists. It also includes a tour made by Simon, Jessica and Edgar of different show locations with clips of archive footage from the very first programmes Simon and Jess appeared in together.

Hayao Miyazaki

Martin Wood A feature-length adventure that bases itself around the universe of Stargate SG-1, Continuum makes the most of the increased budget clearly available, and serves up a hugely enjoyable, action-packed slice of science-fiction that makes you wish they'd all hurry up and make the next instalment.

Stargate: Continuum follows on from the earlier feature-length The Ark Of Truth, and it focuses on a staple storyline of science fiction television, the alternate timeline. In this instance, it's an Earth where the Stargate simply hasn't been discovered, and nobody has any knowledge of the crew's adventures.

Wisely using this story mechanic as a basis rather than the main thrust of Stargate: Continuum, the action soon focuses on a well-realised attempt by the Ba'al to conquer Earth. It's exciting stuff, and while the credits arguably roll a little too early, it's very welcome work from the SG-1 favourites that builds up to a strong outing for all concerned. And in the midst of them is the returning Richard Dean Anderson as O'Neill, and very welcome he is too.

Stargate: Continuum makes good use of both the extended running time that a feature offers, as well as the extra resources that were clearly available in front of and behind the camera. It's inevitably going to be enjoyed most of all by SG-1's fanbase, but there's plenty in here too for the casual science-fiction enthusiast. —Jon Foster

Robert C. Cooper

John Carpenter

John Lasseter

When a remote Mexican oilfield comes down with a nasty case of Graboids (for the uninitiated: giant carnivorous worms with tunnelling abilities that put Bugs Bunny to shame), it is up to those veteran monster exterminators Burt and Earl to save the day—and accumulate some much-needed payola in the process. But this time, the slimy critters may have a few new tricks up their ... um, sleeves. Although denied a chance to appear in the cinema, this unjustly neglected direct-to-video sequel delivers the same winning mixture of cornpone and gore that made the original Tremorsa cult classic. Although Kevin Bacon is missing, Michael Gross and the wonderful Fred Ward reprise their roles from the first film. A hoot-and-a-half for horror and SF fans, Tremors 2has some genuine scares and a welcome sense of humour. The DVD, presented in 1.85:1 widescreen format, has trailers for both movies but no other extra features. —Andrew Wright

Brent Maddock

S.S. Wilson

Better action, a bit of sex, and gorier R-rated violence make Underworld: Evolutiona reasonably satisfying sequel to 2003's surprise hit Underworld. Looking stunning as ever in her black leather battle gear, Kate Beckinsale is every goth guy's fantasy as Selene, the vampire "death dealer" who's now fighting to stop the release of the original "Lycan" werewolf, William (Brian Steele) from the prison that's held him for centuries. As we learn from the film's action-packed prologue, William and his brother Marcus (Tony Curran) began the bloodline of vampires and werewolves, and after witnessing centuries of warfare between them, their immortal father Corvinus (Derek Jacobi) now seeks Selene and the human vampire/lycan hybrid Michael (Scott Speedman) to put an end to the war perpetuated by Victor (Bill Nighy), the vampire warrior whose betrayal of Selene turns Underworld: Evolutioninto an epic tale of familial revenge. This ambitious attempt at Shakespearean horror is compromised by a script (by Danny McBride and returning director Len Wiseman, Beckinsale's real-life husband) that's more confusing than it needs to be, with too many characters and not enough storytelling detail to flesh them all out. Aspiring to greatness and falling well short of that goal, Underworld: Evolutionsucceeds instead as a full-throttle action/horror thriller, with enough swordplay, gunplay, and CGI monsters to justify the continuation of the Underworldfranchise. If you're an established fan, this is a must-see movie; if not, well... at least it's better than Van Helsing! —Jeff Shannon

Higuchinsky

"Remember, remember the fifth of November," for on this day, in 2020, the minds of the masses shall be set free. So says code-name V (Hugo Weaving), a man on a mission to shake society out of its blank complacent stares in the film V For Vendetta. His tactics, however, are a bit revolutionary to say the least. The world in which V lives is very similar to Orwell's totalitarian dystopia in 1984: after years of various wars, England is now under "big brother" Chancellor Adam Sutler (played by John Hurt, who ironically played Winston Smith in the movie 1984) whose party uses force and fear to run the nation. After gaining power, minorities and political dissenters were rounded up and removed; artistic and unacceptable religious works were confiscated. Cameras and microphones are littered throughout the land, and the people are perpetually sedated through the governmentally controlled media. Taking inspiration from Guy Fawkes, the 17th century co-conspirator of a failed attempt to blow up Parliament on November 5, 1605, V dons a Fawkes mask and costume and sets off to wake the masses by destroying the symbols of their oppressors, literally and figuratively. At the beginning of his vendetta, V rescues Evey (Natalie Portman) from a group of police officers and has her live with him in his underworld lair. It is through their relationship where we learn how V became V, the extremities of the party's corruption, the problems of an oppressive government, V's revenge plot and his philosophy on how to induce change.

Based on the popular graphic novel by Alan Moore, V For Vendetta's screenplay was written by the Wachowski Brothers (of The Matrixfame) and directed by their protégé James McTeigue. Controversy and criticism followed the film since its inception, from the hyper-stylized use of anarchistic terrorism to overthrow a corrupt government and the blatant jabs at the current US political arena, to graphic novel fans complaining about the reconstruction of Alan Moore's original vision (Moore himself has dismissed the film). Many are valid critiques and opinions, but there's no hiding the message the film is trying to express: Radical and drastic events often need to occur in order to shake people out of their state of indifference in order to bring about real change. Unfortunately, the movie only offers a means with no ends, and those looking for answers may find the film stylish, but a bit empty. —Rob Bracco

Andrew Stanton Pixar genius reigns in this funny romantic comedy, which stars a robot who says absolutely nothing for a full 25 minutes yet somehow completely transfixes and endears himself to the audience within the first few minutes of the film. As the last robot left on earth, Wall-E (voiced by Ben Burtt) is one small robot—with a big, big heart—who holds the future of Earth and mankind squarely in the palm of his metal hand. He's outlasted all the "Waste Allocation Load Lifter Earth-Class" robots that were assigned some 700 years ago to clean up the environmental mess that man made of earth while man vacationed aboard the luxury spaceship Axiom. Wall-E has dutifully gone about his job compacting trash, the extreme solitude broken only by his pet cockroach, but he's developed some oddly human habits and ideas. When the Axiom sends its regularly scheduled robotic EVE probe (Elissa Knight) to earth, Wall-E is instantly smitten and proceeds to try to impress EVE with his collection of human memorabilia. EVE's directive compels her to bring Wall-E's newly collected plant sprout to the captain of the Axiom and Wall-E follows in hot pursuit. Suddenly, the human world is turned upside down and the Captain (Jeff Garlin) joins forces with Wall-E and a cast of other misfit robots to lead the now lethargic people back home to earth. Wall-E is a great family film with the most impressive aspect being the depth of emotion conveyed by a simple robot—a machine typically considered devoid of emotion, but made so absolutely touching by the magic of Pixar animation. Also well-worth admiring are the sweeping views from space, the creative yet disturbing vision of what strange luxuries a future space vacation might offer, and the innovative use of trash in a future cityscape. Underneath the slapstick comedy and touching love story is a poignant message about the folly of human greed and its potential effects on earth and the entire human race. —Tami Horiuchi, Amazon.com

Nick Park A Grand Day Out

Nominated for an Academy Award in 1990, the first short-film adventure of Wallace and Gromit was this 24-minute comedy, created by clay animator Nick Park over a six-year period at the National Film & Television School in London, and at the Aardman Animation studios that Park boosted to international acclaim. In their debut adventure, Wallace and his furry pal Gromit find themselves desperate for "a nice bit of Gorgonzola", but their refrigerator's empty and the local cheese shop is closed for a holiday! Undeterred, Wallace comes up with an extreme solution to the cheese shortage: since the moon is made of cheese (we all know that's true, right?), he decides to build a rocket ship and blast off for a cheesy lunar picnic! Gromit's only too happy to help, and before long the inventive duo is on the moon, where they encounter a clever appliance that's part oven, part robot, part lunar skiing enthusiast ... well, you just have to see the movie to understand how any of this whimsical lunar-cy can make any sense! It's a grand tale of wonderful discoveries, fantastic inventions—and really great cheese! 

The Wrong Trousers
Clay-animation master Nick Park deservedly won the 1993 Academy Award for Best Animated Short for this 30-minute masterpiece, in which the good-natured inventor Wallace and his trusty dog, Gromit, return for another grand adventure. It all begins on the morning of Gromit's birthday, when Wallace gives his beloved pooch the gift of his latest invention—a pair of mechanical "techno-trousers" that can be programmed to take Gromit out for "walkies" while Wallace sits comfortably at home. Gromit's not exactly thrilled with the new gadget, and things go from bad to worse when Wallace rents a room to a new boarder—a rather suspicious-looking penguin—to offset his rising expenses. As it turns out, the penguin's a notorious thief, and the amazing techno-trousers provide a foolproof method of pulling off a diamond heist! It's Gromit's big opportunity for canine heroics, and The Wrong Trousersturns into one of the funniest, most inventive caper-comedies ever made, with an action-packed climax on a speeding miniature train. Will the notorious "Feathers" wind up in jail where he belongs? Will Gromit finally get his due recognition? Watch this amazing marvel of clay animation to see why Wallace and Gromit have become global celebrities—this is comedic ingenuity at its finest. 

A Close Shave
Hot from the international triumph of The Wrong Trousers, clay animator Nick Park knew that his third Wallace and Gromit film was going to have to be the biggest and best adventure yet for the mild-mannered inventor Wallace and his perceptive pooch Gromit. With the ambitiously zany plot of A Close Shave, Park and his fellow animators rose to the occasion and their film won the 1995 Academy Award (Park's second Oscar) for Best Animated Short. This time out, Wallace and Gromit have teamed up to provide a window-washing service, and that's how Wallace meets the lovely Wendolene Ramsbottom, a wool-shop owner whose malevolent dog Preston turns out to be the mastermind of a sheep-napping scheme! Of course, no Wallace and Gromit adventure can be without a grandiose gadget, so Wallace's latest invention is the Knit-O-Matic, a yarn-making machine capable of shearing a whole flock of sheep just a bit too efficiently! When the villainous Preston gains control of the mechanical knitting marvel, Gromit must race to the rescue, and A Close Shavereaches new heights of clay-animation mastery. Every shot is a testament to Nick Park's patience, his clever ingenuity, and his film-making flair. The movie's so technically impressive, in fact, that the whole world wondered where Park could go next. It was no surprise, therefore, to find him making the transition to the big screen with Chicken Run. —Jeff Shannon

Devotees of the Who, who haven't availed themselves of Jeff Stein's thrilling, self-mocking 1979 documentary The Kids Are Alright, shouldn't wait another minute now that the film has been painstakingly—perhaps heroically—restored to its theatrical-release length from original elements. The sound is clearer than on previous video releases, images are once more crisp and colour-rich, and adjustments in tape speed make the band sound like themselves again, particularly in vintage television performances and filmed club dates from as far back as the band's sonically thrilling, early R&B period. Special features are extensive, including, among many other delights, multiple-angle footage, an insightful interview with Roger Daltrey, a feature about the film's restoration, and a mesmerising, isolated John Entwistle audio track. —Tom Keogh

John Woo John Woo's reputation as the world's best action director hits a major breakdown with Windtalkers, an overlong, over-silly, overwritten and overacted entry in the current American craze for war movies that combine extreme patriotism with hordes of Yankee extras getting bloodily cut to pieces until a final uplifting victory. US Marine Nicolas Cage—with a scarred ear and a fed-up look—is given the job of looking after Navajo Adam Beach, whose complex language is the basis of a code being used to fool the Japanese in the Pacific during World War II. His orders are to protect not Beach but the code, (including orders to kill Beach if it looks like capture is imminent) which makes for an uneasy progress from hatred-at-first-sight through growing respect to agonised male bonding.

From an interesting historical footnote, Woo and his collaborators spin out an unlikely and repetitive platoon story, with an all-cliché bunch of grunts spitting out hardboiled dialogue between the noise and violence. The Woo touch is evident; from the astonishing pullback from a butterfly over bloodied waters to the thick of hand-to-hand fighting, but too many of the battle scenes are just more explosions-and-body-parts along the same lines of Saving Private Ryan and Black Hawk Down.

On the DVD: Windtalkers contains an 11-minute TV filler making-of featurette; footage of the entire cast (except Cage) romping through the research process at Actors' Bootcamp; plus on-set diaries, i.e., B-roll footage of the crew working on four big action scenes. Of the two commentary tracks, the first offers a lot of mutual stroking with the occasional insight from Cage and Slater, the other offers Navajo actor Roger Willie and real-life codetalker/technical advisor Albert Smith. The language options, for soundtrack and subtitles, are English and (oddly) Czech. —Kim Newman

Television really doesn't come much better than this. Criminally ignored by far, far too many people, The Wirehas proven itself to be that rarest of things: an intelligent, clever, character-driven show, that's lasted more than one season.

This boxset brings together all the episodes from the maiden series of The Wire, spread across thirteen episodes. Yet those episodes, unlike many in the police genre where the show spends a good deal of its time, are dedicated to just one case. Furthermore, it follows both sides of the case. Thus, there's the Baltimore police department, with its statistics to manage, its internal politics to manage and its chain of command to respect, set against a highly organised drug gang, who too have more than their fair share of problems.

The Wireis a slow burn show, taking time to delicate put its pieces in place. Rarely do you get a dramatic end to an episode, and it's not afraid to humanise and blur the lines between good and bad. But, bluntly, there's nothing—not even The Sopranos—that US TV has broadcast in the last ten years that can hold a torch to it. This first series is genuinely outstanding television, and really deserves your attention. And the good news? Excellent as it is, this first series isn't even the best that The Wirehas to offer…—Simon Brew

Picking up after the dramatic events of its maiden season, the second series of The Wireachieves something really rather special: it even manages to outclass the first.

For those fresh to the show, surely the best, most intelligent piece of scripted drama to emerge from America in the last decade, the actual premise is fairly simple. Across the thirteen episodes of its season, it charts one case, and the numerous influences upon it. So it devotes roughly equal time to those committing the crimes as it does to those chasing them.

This time, the Baltimore Police Department have twin worries. There's the continuing, festering narrative of events from the season before, along with a new problem when a container of dead bodies turns up at the nearby docks. After initial battles over whose statistics the bodies will be attributed to, a fresh case begins for the embattled officers of the Major Crimes Unit.

Yet season two is about much more than the case itself. Bubbling under the surface are characters with real problems, that take their toll on the day-to-day, while at the docks themselves there are union struggles underway, which also have a part to play. Thanks to, frankly, superb scripting, these various narrative threads are woven together quite brilliantly, and the result is perhaps the finest series of The Wireto date. And that's no small feat.

If you're one of the many who have let The Wirefly under their radar thus far, then you're urged to rectify that. Clearly season one is the logical starting point, but begin your adventure in the knowledge that this second series is simple exceptional. For the rest of the US television industry, this is the standard to aim for. —Simon Brew

Corruption is rife throughout The Wire: The Complete Third Season, which picks up the further adventures of the Baltimore Major Crimes Unit as they continue to wage war on drugs. Only as this is The Wire, that's just the beginnings of their problems. Once again, the show that's rightly being acclaimed as one of America's finest and most intelligent dramas covers the story from all areas. There's the investigating cops on one hand, their targets on the other, and the small matter of heavy political influence both with the Police Department itself, and from the Mayor's Office too.

Cleverly sowing the seeds for the series that'll follow, while lacing the narrative with a wealth of challenging ideas to deal with there and then, season three isn't perhaps the finest of The Wireto date, but it sure does run things close. From its willingness to explore a solution of tolerance to the problem in hand, through to the political ambitions of one man determined to make a name for himself, and the small matter of a drugs operation riddled with in-fighting, it's compelling drama.

It's also unequalled in recent times, courtesy of its outstanding writing, measured performances and willingness to take some bold gambles. Put bluntly, The Wire: The Complete Third Seasonis a quite brilliant piece of television drama, and easily rewards a purchase. —Simon Brew

Even if you missed the first three seasons (the character guides and thorough episode recaps on HBO's website are recommended), and with only one season left, it's not too late to get in under The Wire. In fact, season 4 is an accessible introduction for those who know The Wireonly by its street cred as arguably the very best show on television. For them especially, this season will be, as befitting its theme, a real education. Without resorting to melodramatics that other ratings-challenged series employ to gain that frustratingly elusive audience, The Wireshakes things up this season in a way that is true to the series and its characters. A major character, Dominic West's McNulty, plays a minor role as a contented street cop and family man, while a former supporting player, Jim True-Frost's Roland Pryzbylewski, goes to the head of the class as a new eighth grade teacher at beleaguered Edward Tilghman Middle School. It may take a couple of episodes to orient yourself to the Baltimore backrooms, squad rooms, classrooms, and street corners where The Wire's intense dramas play out, and new viewers may miss something in character nuance, but they will easily grasp the big picture. A politically motivated shake-up sends Major Crimes detectives Freamon (Clarke Peters) and Greggs (Sonja Sohn) to Homicide. The gloves come off in the mayoral race between black incumbent Clarence Royce (Glynn Turman) and idealistic white challenger Tommy Carcetti (Aidan Gillen). Gang leader Marlo (Jamie Hector) quietly and deliberately becomes the city's new drug kingpin, managing to subvert all surveillance efforts. Meanwhile, while "Prez" tries to reach his students, four highly at-risk kids will be drawn into the drug trade.

Mere synopsis does not do The Wirejustice. The series deftly juggles its myriad storylines and characters, all of whom make an impression, from Marlo's cold-blooded enforcers, Snoop (Felicia Pearson) and Chris (Gbenga Akinnagbe), to boxing instructor "Cutty" (Chad L. Coleman), determined to keep his young charges off the corners. There is not a false note in the performances or the writing. Richard Price (Clockers) and Dennis Lehane (Mystic River) again contributed episodes. That this series has only been nominated for only one Emmy (for writing) is a travesty. As engrossing as the finest novels and in a class by itself, this isn't television; it's The Wire. —Donald Liebenson

Dominic West It’s borderline tragic that one of American television’s finest shows of recent times comes to an end with season five of The Wire. Long-praised for its astonishing mix of character, grit and outstandingly scripted drama, the upside is that the show sure goes out with some style.

As with every season of The Wire, there’s an underlying theme running alongside the exploration of both sides of Baltimore’s drug problem, and this time it’s the media. Fighting cutbacks, yet trying to maintain quality, the staff of The Baltimore Sun prove to be a compelling addition to the mix. On top of that, there’s also Mayor Carcetti’s battles at City Hall with the budget, a stretched police force looking for easy statistics, and fractions among the city’s main drug dealers. Desperate times, ultimately, call for desperate measures, and it turns to McNulty to come up with a plan that threads through each of the city’s factions.

That The Wire has maintained its standards for five straight seasons is surely something to be celebrated all by itself. Yet what’s even more remarkable is the way that it leaves our screens, seemingly forever. No character is safe and nothing is black and white, right up to the quite wonderful final episode. And what a way to go that last instalment proves to be. Giving nothing away, it’s a superb fanfare to a genuinely stunning—and unequalled—piece of television drama. If you’ve not already, you really should find out what all the fuss about. —Simon Brew

If you were to argue Mel Brooks'Young Frankensteinranks among the top-10 funniest movies of all time, nobody could reasonably dispute the claim. Spoofing classic horror in the way that Brooks' previous film Blazing Saddlessent up classic Westerns, the movie is both a loving tribute and a raucous, irreverent parody of Universal's classic horror films Frankenstein(1931) and Bride of Frankenstein(1935). Filming in glorious black and white, Brooks recreated the Frankenstein laboratory using the equipment from the original Frankenstein (courtesy of designer Kenneth Strickfaden), and this loving attention to physical and stylistic detail creates a solid foundation for non-stop comedy. The story, of course, involves Frederick Frankenstein (Gene Wilder) and his effort to resume experiments in re-animation pioneered by his late father. (He's got some help, since dad left behind a book titled How I Did It.) Assisting him is the hapless hunchback Igor (Marty Feldman) and the buxom but none-too-bright maiden Inga (Teri Garr), and when Frankenstein succeeds in creating his monster (Peter Boyle), the stage is set for an outrageous revision of the Frankenstein legend. With comedy highlights too numerous to mention, Brooks guides his brilliant cast (also including Cloris Leachman, Madeline Kahn, Kenneth Mars and Gene Hackman in a classic cameo role) through scene after scene of inspired hilarity. Indeed, Young Frankensteinis a charmed film, nothing less than a comedy classic, representing the finest work from everyone involved. Not one joke has lost its payoff, and none of the countless gags have lost their zany appeal. From a career that includes some of the best comedies ever made, this is the film for which Mel Brooks will be most fondly remembered. No video library should be without a copy of Young Frankenstein. And just remember—it—it's pronounced "Fronkensteen". —Jeff Shannon