Anyone who's watched just about any teenage film knows that the greatest evil in this world isn't chemical warfare, ethnic cleansing, or even the nuclear bomb. The worst crime known to man? Why, virginity, of course. As we've learned from countless films—from Summer of '42 to Risky Business—virginity is a criminal burden that one must shed oneself of as quickly as possible. And while many of these films have given the topic a bad name, American Pie quietly sweeps in and gives sex some of its dignity back. Dignity, you may say? How can a film that highlights intercourse with fruit pies, premature ejaculation broadcast across the Internet and the gratuitous "gross-out" shots restore the dignity of a genre that's been encumbered with such heavyweights as Porky's and Losin' It? The plot of American Pie may be typical, with four high-school friends swearing to "score" by prom, yet the film rises above the muck with its superior cast, successful and sweet humour, and some actually rather retro values about the meaning and importance of sex. Jason Biggs, Chris Klein, Thomas Ian Nicholas and Eddie Kaye Thomas make up the odd quartet of pals determined to woo, lie and beg their way to manhood. The young women they pursue are wary girlfriend Vicky (Tara Reid), choir girl Heather (Mena Suvari), band geek Michelle (Alyson Hannigan), and just about any other female who is willing and able. Natasha Lyonne as Jessica, playing a similar role as in Slums of Beverly Hills, is the general advisor to the crowd (when Vicky tells her "I want it to be the right time, the right place," Jessica responds, "It's not a space shuttle launch, it's sex"). The comedic timing hits the mark—especially in the deliberately awkward scenes between Jim (Biggs) and his father (Eugene Levy). And, of course, lessons are learned in this genuinely funny film, which will probably please the adult crowd even more than it will the teenage one. —Jenny Brown

This underrated teen comedy from 1998 is guilty of being a proud underachiever, and it doesn't bring anything new to the genre, but look closely and you'll find the makings of a much better movie buried under all the keg-party antics. The basic story is typical for this kind of comedy. A young, aspiring writer named Preston (Ethan Embry) has been lusting after class beauty Amanda (Jennifer Love Hewitt, from TV's Party of Five) for four years of high school, but he's never had the nerve to tell her. Now that they're about to graduate he has finally worked up the courage to write her a soul-baring love letter. At the raucous graduation keg party that takes up most of the movie's 98 minutes, Preston agonises while Amanda's selfish jock ex-boyfriend tries to win her back, and delivering his love letter turns out to be more difficult than he ever imagined. What's interesting about Can't Hardly Wait has little to do with its attractive leads, however. The most engagingly real and entertaining characters are the misfits who show up in the sub-plots, including a geek (Charlie Korsmo) who turns into the life of the party and a pair of old friends (Seth Green, Lauren Ambrose) who confront each other about their mutual needs and insecurities. There are some really good scenes between these two and this modest movie has a few other pleasant surprises up its sleeve. That doesn't make it particularly good but it does make it an agreeable waste of time. —Jeff Shannon

A therapist (Jennifer Lopez, Out Of Sight) uses an experimental treatment to enter the mind of a serial killer (Vincent D'Onofrio, Men In Black) to learn his secrets. An FBI agent (Vince Vaughn, Swingers) must rescue her from the killer's nightmare mind

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

Friday is the rarest specimen of African American cinema: a hood movie refreshingly free of the semi-seriousness and moralism of shoot-'em-up soaps such as Boyz N the Hood, yet still true to the inner-city experience. Scripted by rapper Ice Cube, Friday is a no-frills tale of a typical day in the life of a pair of African American youth in South Central. Cube plays Craig, a frustrated teen who endures the ultimate humiliation: getting fired on his day off. Then unknown Chris Tucker plays Smokey, a marijuana-worshipping homeboy whose love for the green stuff lands him in predicament after predicament. Sitting on the stoop of Craig's rundown home, the two hilariously confront a kaleidoscopic array of gangbangers, weed dealers, crack heads, prostitutes, scheming girlfriends and neighbourhood bullies—all of whom, it should be noted, come off as sympathetic even as they are being caricatured, a true achievement in the crass, "booty call" environment of 1990s African American comedy. —Ethan Brown, Amazon.com

In every aspect, the extended edition of Peter Jackson's epic fantasy The Lord of the Rings: The Fellowship of the Ring is superior to the theatrical version. No-one who cares at all about the film should ever need to watch the original again. Well, maybe the impatient and the squeamish will still prefer it, because this extended edition makes a long film 30 minutes longer and there's a wee bit more violence. But the changes—sometimes whole scenes, sometimes merely a few seconds—make for a richer film. There's more of the spirit of JRR Tolkien, embodied in more songs and a longer opening focusing on Hobbiton. There's more character development, and more background into what is to come in the two subsequent films, such as Galadriel's gifts to the Fellowship and Aragorn's burden of lineage. Some additions make more sense to the plot while others are merely worth seeing, such as the wood elves leaving Middle-earth or the view of Caras Galadhon (but sorry, there's still no Tom Bombadil).

On the DVDs: The Fellowship of the Ring—Extended Version comes in two distinct packages: choose either the four-disc set itself, handsomely presented in a hardback book-style fold-out, or the huge and more expensive Collector's Box Set, which has the same four-disc set accompanied by two chunky "polystone" sculpted Argonath bookends, both of which are solid enough to support either your DVD or Tolkien book collection. The discs themselves have extremely useful chapter menus that indicate which scenes are new or extended. The only drawback is that the film is now spread over two discs, with a somewhat abrupt break following the council at Rivendell, due to the storage capacity required for the longer running time, the added DTS ES 6.1 audio, and the commentary tracks. But that's a minor inconvenience. Of the four commentaries those with the greatest general appeal are the one by Jackson with cowriters Fran Walsh and Philippa Boyens, and the one by 10 cast members; but the more technically orientated commentaries by the creative and production staff are also worth hearing.

The bonus features (encompassing two complete DVDs) are far superior to the largely promotional materials included on the theatrical release, delving into such matters as script development, casting, and visual effects. This extended edition DVD set is the Fellowship to rule them all. —David Horiuchi

Peter Jackson's Lord of the Rings trilogy, triumphantly completed by the 11-Oscar-winning The Return of the King, sets out to show that Tolkien's epic work, once derided as mere adolescent escapism, is not just fodder for the best mass entertainment spectacle ever seen on the big screen, but is also replete with emotionally satisfying meditations on the human condition. What is the nature of true friendship? What constitutes real courage? Why is it important for us to care about people living beyond our borders? What does it mean to live in harmony with the environment and what are the consequences when we do not? When is war justifiable and when is it not? What things are really worth fighting for? These are the questions that resonate with a contemporary audience: to see our current social and political concerns mirrored—and here finally resolved—in Middle-earth is to recognise that Jackson's Lord of the Rings is both a parable for our times and magical cinematic escapism.

As before, in this concluding part of the trilogy the spectacle never dwarfs (sic) the characters, even during Shelob the spider's pitiless assault, for example, or the unparalleled Battle of the Pelennor Fields, where the white towers of Minas Tirith come under ferocious attack from Troll-powered siege weapons and—in a sequence reminiscent of the Imperial Walkers in The Empire Strikes Back—Mammoth-like Mumakil. The people and their feelings always remain in focus, as emphasised by Jackson's sensitive small touches: Gandalf reassuring a terrified Pippin in the midst of battle that death is not to be feared; Frodo's blazing anger at Sam's apparent betrayal; Faramir's desire to win the approval of his megalomaniac father; Gollum's tragic cupidity and his final, heartbreaking glee. And at the very epicentre of the film is the pure heart of Samwise Gamgee—the real hero of the story.

At over three hours, there are almost inevitably some lulls, and the film still feels as if some key scenes are missing: a problem doubtless to be rectified in the extended DVD edition. But the end, when it does finally arrive—set to Howard Shore's Wagnerian music score—brings us full circle, leaving the departing audience to wonder if they will ever find within themselves even a fraction of the courage of a hobbit. —Mark Walker

With no fewer than eight couples vying for our attention, Love Actually is like the London Marathon of romantic comedies, and everybody wins. Having mastered the genre as the writer of Four Weddings and a Funeral, Notting Hill, and Bridget Jones's Diary, it appears that first-time director Richard Curtis is just like his screenplays: he just wants to be loved, and he'll go to absurdly appealing lengths to win our affection. With Love Actually, Curtis orchestrates a minor miracle of romantic choreography, guiding a brilliant cast of stars and newcomers as they careen toward love and holiday cheer in London, among them the Prime Minister (Hugh Grant) who's smitten with his caterer (Martine McCutcheon); a widower (Liam Neeson) whose young son nurses the ultimate schoolboy crush; a writer (Colin Firth) who falls for his Portuguese housekeeper; a devoted wife and mother (Emma Thompson) coping with her potentially unfaithful husband (Alan Rickman); and a lovelorn American (Laura Linney) who's desperately attracted to a colleague. There's more—too much more—as Curtis wraps his Christmas gift with enough happy endings to sweeten a dozen other movies. That he pulls it off so entertainingly is undeniably impressive; that he does it so shamelessly suggests that his writing fares better with other, less ingratiating directors. —Jeff Shannon

Disc 1 features : Special edition version containing 16 minutes of additional scenes never seen in theaters. All new audio commentary with James Cameron, extreme interactive mode with graphic commentary and rare-behind-the scenes footage. Disc 2 features : 2 new documentaries, plus the complete theatrical version of the film in Microsoft Windows Media 9 series playable in high resolution and 5.1 sound directly from your PC. "Infiltration Unit Simulator and T2 FX Studio" - morph your imported images into a T-1000 or a T-800 terminator. "Skynet Combat Chassis Designer" construct and field-test your own ultimate fighting machine - track your progress online.

This DVD collection has a few extras included on the previous DVD release. The key ingredient is Nick Park and his associates' commentary over the three tales. The commentaries are quite enjoyable with the team noting the origins of the action and several hidden gags. There is also 30 minutes of behind-the-scenes footage, some fun bumpers (short commercials) that Wallace and Gromit appeared in for British Channel 2, a few early works of Parks, and a gallery of blueprints and photos to complete the collection. —Doug Thomas

Mark Waters (VIII) The cutting wit of Tina Fey (the first female head writer for US comedy breeding ground Saturday Night Live) brilliantly fuses pop culture and smart satire. Fey wrote Mean Girls, in which a formerly home-schooled girl named Cady (Lindsay Lohan) gets dropped into the sneaky, vicious world of the Plastics, three adolescent glamour-girls who dominate their public high school's social heirarchy. Cady first befriends a couple of art-punk outsiders who persuade her to infiltrate the Plastics and destroy them from within—but power corrupts, and Cady soon finds the glory of being a Plastic to be seductive. Mean Girls joins the ranks of Clueless, Bring It On, and Heathers, cunning movies that use the hormone-pressurized high school milieu to put the dark impulses of human nature—ambition, envy, lust, revenge—under a comic microscope. Fey manages to skewer everyone without forgetting the characters' hapless humanity; it's a dazzling and delightful balancing act. —Bret Fetzer

Michael Apted In his 19th screen outing, Ian Fleming's superspy is once again caught in the crosshairs of a self-created dilemma: as the longest-running feature-film franchise, James Bond is an annuity his producers want to protect, yet the series' consciously formulaic approach frustrates any real element of surprise beyond the rote application of plot twists or jump cuts to shake up the audience. This time out, credit 007's caretakers for making some visible attempts to invest their principal characters with darker motives—and blame them for squandering The World Is Not Enough's initial promise by the final reel.

By now, Bond pictures are as elegantly formal as a Bach chorale, and this one opens on an unusually powerful note. A stunning pre-title sequence reaches beyond mere pyrotechnics to introduce key plot elements as the action leaps from Bilbao to London. Bond 5.0, Pierce Brosnan, undercuts his usually suave persona with a darker, more brutal edge largely absent since Sean Connery departed. Equally tantalizing are our initial glimpses of Bond's nemesis du jour, Renard (Robert Carlyle), and imminent love interest, Elektra King (Sophie Marceau), both atypically complex characters cast with seemingly shrewd choices, and directed by the capable Michael Apted. The story's focus on post-Soviet geopolitics likewise starts off on a savvy note, before being overtaken by increasingly Byzantine plot twists, hidden motives, and reversals of loyalty superheated by relentless (if intermittently perfunctory) action sequences.

Indeed, the procession of perils plays like a greatest hits medley, save for a nifty sequence involving airborne buzz saws that's as enjoyable as it is preposterous. Bond's grimmer demeanor, while preferable to the smirk that eventually swallowed Roger Moore whole, proves wearying, unrelieved by any true wit. The underlying psychoses that propel Renard and Elektra eventually unravel into unconvincing melodrama, while Bond is supplied with a secondary love object, Denise Richards, who's even more improbable as a nuclear physicist. Ultimately, this World is not enough despite its better intentions. —Sam Sutherland

Edward Asner, Will Ferrell, Newhart, Bob This hilarious Christmas film tells the tale of a young orphan child who mistakenly crawls into Santa's bag of gifts on Christmas Eve and is transported back to the North Pole and raised as an elf. Years later Buddy learns he is not really an elf and goes on a journey to New York City to find his true identity.Running Time: 95 min.Format: DVD MOVIE Genre: COMEDY UPC: 794043716829 Manufacturer No: N7168

Halle Berry, Brian Cox, Hugh Jackman, Ian McKellen The evolution continues in this "exhilarating thrill ride" (Seattle Post-Intelligencer) that features the extraordinary original X-Men - along with amazing new mutants possessing fantastic powers that have to be seen to be believed. In the wake of a shocking attack on the President, the X-Men face their most dangerous mission ever. They must stand united with their deadliest enemies to combat a menace that threatens every mutant on the planet. But could this new alliance backfire and annihilate the human race? Patrick Stewart, Ian McKellen, Hugh Jackman, Hale Berry, Famke Janssen and Rebecca Romijn-Stamos star in this breathtaking, action-packed spectacle that "may be the best superhero movie yet made!" (San Francisco Examiner)

Luc Besson Ancient curses, all-powerful monsters, shape-changing assassins, scantily-clad stewardesses, laser battles, huge explosions, a perfect woman, a malcontent hero—what more can you ask of a big-budget science fiction movie? Luc Besson's high-octane film The Fifth Element incorporates presidents, rock stars and cab drivers into its peculiar plot, traversing worlds and encountering some pretty wild aliens. Bruce Willis stars as a down-and-out cabbie who must win the love of Leeloo (Milla Jovovich) to save Earth from destruction by Jean-Baptiste Emmanuel Zorg (Gary Oldman) and a dark, unearthly force that makes Darth Vader look like an Ewok. —Geoff Riley

S.R. Bindler

Marco Brambilla Searching for new directions, Sylvester Stallone starred in this farcical, 1993 SF piece about an ex-cop (Stallone) freed from 36 years of forced hibernation to help catch a criminal (Wesley Snipes) who released himself from a similar incarceration. The futuristic story finds Los Angeles a sea of Taco Bells and enforced peace and within that satiric overview Stallone's character becomes a gun-toting fish out of water. The film plays like a live-action cartoon and while there is nothing particularly wrong with that, Demolition Man is a rather flat experience. The irony of a peaceable society that both requires and despises its bloody saviours has been captured far more profoundly in movies like Dirty Harry. Sandra Bullock costars. —Tom Keogh

Tim Burton Before making Batman, director Tim Burton and star Michael Keaton teamed up for this popular black comedy about a young couple (Geena Davis and Alec Baldwin) whose premature death leads them to a series of wildly bizarre afterlife exploits. As ghosts in their own New England home, they're faced with the challenge of scaring off the pretentious new owners (Catherine O'Hara and Jeffrey Jones), whose daughter (Winona Ryder) has an affinity for all things morbid. Keaton plays the mischievous Beetlejuice, a freelance "bio-exorcist" who's got an evil agenda behind his plot to help the young undead newlyweds. The film is a perfect vehicle for Burton's visual style and twisted imagination, with clever ideas and gags packed into every scene. Beetlejuice is also a showcase for Keaton, who tackles his title role with maniacal relish and a dark edge of menace.—Jeff Shannon

Martin Campbell A lusty and rousing adventure, this calls to mind those glorious costume dramas produced so capably by the old Hollywood studio system—hardly surprising, in that its title character, a de facto Robin Hood in Old California, provided starring vehicles for Douglas Fairbanks and Tyrone Power, the 50s TV hit, and dozens of serials and features. Zorro, a pop-fiction creation invented by Johnston McCulley in 1918, is given new blood in this fast-moving and engaging version, which actually works as a sequel to the story line in the Fairbanks-Power saga, The Mark of Zorro. A self-assured Anthony Hopkins is Don Diego de la Vega, a Mexican freedom fighter captured and imprisoned just as Spain concedes California to Santa Ana. Twenty years later, he escapes from prison to face down his mortal enemy, a land grabbing governor played with slimy spitefulness by Stuart Wilson. Too old to save the local peasants on his own, he trains bandito Antonio Banderas to take his place. Much swashbuckling ensues as Banderas woos Catherine Zeta-Jones, becomes a better human being and saves the disenfranchised rabble. Director Martin Campbell wisely instils a measure of frivolity into the deftly choreographed action sequences, while letting a serious tone creep in when appropriate. This covers much ground under the banner of romantic-action-adventure and it does so most excellently. —Rochelle O'Gorman

Stu Campbell

Nick Castle

Larry Charles It takes a certain kind of comic genius to create a character who is, to quote the classic Sondheim lyric, appealing and appalling. But be forewarned: Borat is not "something for everyone." It arrives as advertised as one of the most outrageous, most offensive, and funniest films in years. Kazakhstan journalist Borat Sagdiyev (Sacha Baron Cohen reprising the popular character from his Da Ali G Show, leaves his humble village to come to "U.S. of A" to film a documentary. After catching an episode of Baywatch in his New York hotel room, he impulsively scuttles his plans and, accompanied by his fat, hirsute producer (Hardy to his Laurel), proceeds to California to pursue the object of his obsession, Pamela Anderson. Borat is not about how he finds America; it's about how America finds him in a series of increasingly cringe-worthy scenes. Borat, with his '70s mustache, well-worn grey suit, and outrageously backwards attitudes (especially where Jews are concerned) interacts with a cross-section of the populace, catching them, a la Alan Funt on Candid Camera, in the act of being themselves.

Early on, an unwitting humour coach advises Borat about various types of jokes. Borat asks if his brother's retardation is a ripe subject for comedy. The coach patiently replies, "That would not be funny in America." NOT! Borat is subversively, bracingly funny. When it comes to exploring uncharted territory of what is and is not appropriate or politically correct, Borat knows no boundaries, as when he brings a fancy dinner with the southern gentry to a halt after returning from the bathroom with a bag of his feces ("The cultural differences are vast," his hostess graciously/patronisingly offers), or turns cheers to boos at a rodeo when he calls for bloodlust against the Iraqis and mangles "The Star Spangled Banner."

Success, John F. Kennedy once said, has a thousand fathers. A paternity test on Borat might reveal traces of Bill Dana's Jose Jimenez, Andy Kaufman, Michael Moore, The Jamie Kennedy Xperiment, and Jackass. Some scenes seem to have been staged (a game Anderson, whom Borat confronts at a book signing, was reportedly in on the setup), but others, as the growing litany of lawsuits attests, were not. All too real is Borat's encounter with loutish Southern frat boys who reveal their sexism and racism, and the disturbing moment when he asks a gun store owner what gun he would recommend to "kill a Jew" (a Glock automatic is the matter-of-fact reply). Comedy is not pretty, and in Borat it can get downright ugly, as when Borat and his producer get jiggly with it during a nude fight that spills out from their hotel room into the hallway, elevator, lobby and finally, a mortgage brokers association banquet. High-five! —Donald Liebenson

Rob Cohen A guilty pleasure with excess horsepower, The Fast and the Furious efficiently combines time-honoured male fantasies (hot cars, hot women, hot action) into a vacuous plot of crystalline purity. It's trash, but it's fun trash, in which a hotshot Los Angeles cop named Brian (Paul Walker) infiltrates a gang of street racers suspected of fencing stolen goods from hijacked trucks. The gang leader is Dom (Vin Diesel), ex-con and reigning king of the street racers, who lives for those 10 seconds of freedom when his high-performance "rice rocket" (a highly modified Asian import) hurtles toward another quarter-mile victory. Racing is street theatre for a lawless youth subculture, and Dom is a star behind the wheel—charismatic, dangerous and protective toward his sister Mia (Jordana Brewster), who's attracted to Brian as the newest member of Dom's car-crazy team.

Director Rob Cohen treats this like Roman tragedy for MTV junkies, pushing every scene to adrenaline-pumping extremes; when his camera isn't caressing a spectrum of nitrous oxide-enhanced dream machines, it's ogling countless slim 'n' sexy race babes. The undercover-cop scenario cheaply borrows the split-loyalty theme perfected in Donnie Brasco; a rival Asian gang adds mystery and menace; and digital trickery is cleverly employed to explore the fuel-injected innards of the day-glo racecars. It's about as substantial as a perfume ad, but just as alluring, and for heavy-metal maniacs of any age, Diesel's super-blown 69 Charger proves that Detroit muscle never goes out of style. —Jeff Shannon, Amazon.com

On the DVD: Appropriately bulging with macho extra features, this disc is introduced with a stirring lack of irony by a Public Service Announcement exhorting viewers not to take proceedings too seriously! The meat of the many special features are found in deconstructions of several special effects sequences, with multiple camera-angle views and a breakdown of the process by which composite shots are achieved from separate plates. There are also eight deleted or extended scenes with optional directorial commentary. The main feature commentary is surprisingly in-depth and absorbing, as Rob Cohen talks about every aspect of his up-to-date "Western with rice rockets". Other features include music videos (one of which has its lyrics censored), a standard 18-minute "making-of" featurette and, fascinatingly, a short five-minute peek at the editing process as the director and film editor strive to cut a violent scene and thereby guarantee that all-important PG-13 rating (so that young kids who can't drive will be able to watch the movie and learn about speed, the director says with a straight face). And with a choice of explosive Dolby 5.1 or DTS you, and your long-suffering neighbours, will feel like you're right in the midst of the action. —Mark Walker

Chris Columbus The world's most famous boy wizard dives straight into a darker and more thrilling magical adventure in Harry Potter and the Chamber of Secrets. It's practically the same set-up—something evil's afoot at Hogwarts; Harry and his pals must put it right—but fans of the books won't be disappointed. Director Chris Columbus, whose artistic licence is necessarily limited by the demands of adapting JK Rowling's phenomenally popular novel, does a spectacular job rendering Rowling's imaginary world: the production design and costumes are fascinating in their own right; such is the impressive attention to detail.

Daniel Radcliffe gives a more assured performance here as Harry, though he's not quite strong enough to carry the film without the aid of an excellent ensemble cast of experienced adults, notably a twinkly-eyed Kenneth Branagh. Of course, most viewers will already know what's going to happen as far as the story is concerned, so for them the pleasure in watching The Chamber of Secrets lies in the visualisation of Rowling's magical creations and the verve brought to the action sequences. It's fantastic fun for kids and a good excuse to regress back to childhood for the rest of us. —Laura Bushell

On the DVD: Harry Potter and the Chamber of Secrets's first disc offers the film in all its fine widescreen (2.35:1) and surround-sound glory—it—it's a shame they didn't think of adding a commentary.

The second disc's special features are sparse compared to last year's release, most notably the games, which are simpler and dull in comparison to The Philosopher's Stone. Gilderoy Lockhart's classroom offers nothing magical, and the interviews with teachers and students offer only snippets of the actors' thoughts on their characters. Don't get over excited about the "Build a Scene" feature as, unfortunately, this is not a miracle of modern DVD technology, but a simple featurette. The real gem on the disc is a 16-minute interview with JK Rowling and Steve Kloves about the transfer from book to screen. —Nikki Disney

Chris Columbus In this enchanting film adaptation of J.K. Rowling's delightful bestseller Harry Potter learns on his 11th birthday that he is the orphaned first son of two powerful wizards and possesses magical powers of his own. At Hogwarts School of Witchcraft and Wizardry Harry embarks on the adventure of a lifetime. He learns the high-flying sport Quidditch and plays a thrilling game with living chess pieces on his way to face a Dark Wizard bent on destroying him. For the most extraordinary adventure see you on platform nine and three quarters!Format: DVD MOVIE Genre: SCI-FI/FANTASY/FANTASY UPC: 085391173618 Manufacturer No: 1000026104

Alfonso Cuarón Some movie-loving wizards must have cast a magic spell on Harry Potter and the Prisoner of Azkaban, because it's another grand slam for the Harry Potter franchise. Demonstrating remarkable versatility after the arthouse success of Y Tu Mamá También, director Alfonso Cuarón proves a perfect choice to guide Harry, Hermione, and Ron into treacherous puberty as the now 13-year-old students at Hogwarts School of Witchcraft and Wizardry face a new and daunting challenge: Sirius Black (Gary Oldman) has escaped from Azkaban prison, and for reasons yet unknown (unless, of course, you've read J.K. Rowling's book, considered by many to be the best in the series), he's after Harry in a bid for revenge. This dark and dangerous mystery drives the action while Harry (the fast-growing Daniel Radcliffe) and his third-year Hogwarts classmates discover the flying hippogriff Buckbeak (a marvelous CGI creature), the benevolent but enigmatic Professor Lupin (David Thewlis), horrifying black-robed Dementors, sneaky Peter Pettigrew (Timothy Spall), and the wonderful advantage of having a Time-Turner just when you need one. The familiar Hogwarts staff returns in fine form (including the delightful Michael Gambon, replacing the late Richard Harris as Dumbledore, and Emma Thompson as the goggle-eyed Sybil Trelawney), and even Julie Christie joins this prestigious production for a brief but welcome cameo. Technically dazzling, fast-paced, and chock-full of Rowling's boundless imagination (loyally adapted by ace screenwriter Steve Kloves), The Prisoner of Azkaban is a Potter-movie classic. —Jeff Shannon

Betty Crocker Editors

Bobby Farrelly, Peter Farrelly Still suffering from a high school crush on Mary, the nerdy, angst-driven Ted tracks her down thirteen years later with the help of a sleazy private investigator who also falls for her.
Genre: Feature Film-Comedy
Rating: R
Release Date: 8-FEB-2005
Media Type: DVD

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

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

Melvin Frank, Norman Panama Danny Kaye spoofs Robin Hood and Scaramouche in this inventive slapstick swashbuckler. Portraying the clownish but good-hearted entertainer Hawkins, he infiltrates the court of the corrupt Basil Rathbone (up to his usual brand of cruel villainy) disguised as the legendary king of jesters, Giacomo. After a court sorceress hypnotises Hawkins into believing he is also a legendary assassin, Hawkins has more identities than he can keep straight, and Kaye zips back and forth between them at, literally, a snap of the fingers. Comic highlights include a wonderful sword fight with Rathbone in which he constantly switches identities, and the classic "chalice from the palace/vessel with pestle" wordplay as Hawkins plays "hide the poison" and forgets where it is. With comely Glynis Johns as his spy-in-arms love interest, Angela Lansbury as the scheming princess, and Mildred Natwick as the dotty spellcaster, this is Danny Kaye at his comic best. —Sean Axmaker, Amazon.com

John Frankenheimer Film about a group of former intelligence agents of various nationalities who are contracted to carry out a dangerous mission.System Requirements:Starring: Jean Reno et al. Director: John Frankenheimer Edition Details: Region 1 encoding (for use in US and Canada only) Color Widescreen Dolby Closed-captioned Commentary by director John Frankenheimer Never-before-seen alternate ending 8 page booklet featuring insights into the making of the film Full-screen and widescreen anamorphic formats Number of discs: 1 Format: DVD MOVIE Genre: ACTION/ADVENTURE Rating: R UPC: 027616743923 Manufacturer No: 907439

Guy Hamilton Dry as ice, dripping with deadpan witticisms, only Sean Connery's Bond would dare to disparage the Beatles, that other 1964 phenomenon. No one but Connery can believably seduce women so effortlessly, kill with almost as much ease, and then pull another bottle of Dom Perignon 53 out of the fridge. Goldfinger contains many of the most memorable scenes in the Bond series: gorgeous Shirley Eaton (as Jill Masterson) coated in gold paint by evil Auric Goldfinger and deposited in Bond's bed; silent Oddjob, flipping a razor-sharp bowler like a Frisbee to sever heads; our hero spread-eagled on a table while a laser beam moves threateningly toward his crotch. Honor Blackman's Pussy Galore is the prototype for the series' rash of man-hating supermodels. And Desmond Llewelyn reprises his role as Q, giving Bond what is still his most impressive car, a snazzy little number that fires off smoke screens, punctures the tyres of vehicles on the chase, and boasts a handy ejector seat. Goldfinger's two climaxes, inside Fort Knox and aboard a private plane, have to be seen to be believed.—Raphael Shargel, Amazon.com—

On the DVD: Featuring interviews with Honor Blackman, Shirley Eaton, the late Desmond Llewelyn and most of the surviving core cast and crew members, great on-set footage (Blackman and Connery look like they clearly had the hots for each other even when the camera weren't rolling) and a strong argument about how this firmed up the gadget-orientated, thrills-and-spills formula for the franchise, John Cork's "making of" featurette for this DVD is one of the most rewarding in this series. The two commentary tracks have moderately interesting observations by director Guy Hamilton, the cast and crew (many of their comments recycled from the documentary), and on both Bond superfan-and-author Lee Pfeiffer filling in blanks and explaining in exhaustive detail the history of the Aston Martin DB5 that first appeared in this film. Also included is an open-ended 1964 interview with Sean Connery, designed so that American radio disc jockeys could pretend they had an exclusive interview with the star, in which he extols the series' "sadism for the family" among other things. —Leslie Felperin

David Hand, Wilfred Jackson Snow White and the Seven Dwarfs was nicknamed "Disney's Folly" by contemporary observers; they doubted that the short cartoons shown before the main film could ever successfully make the transition from filler to feature presentation. Surely, no one would sit still for over an hour to watch an animated film, their eyes smarting from the bright colours on screen? Fortunately, Walt Disney and his army of artists persisted and the world's first full-length animated feature was finally released in 1937 to widespread acclaim.

Adapted from the Grimm fairytale, Snow White and the Seven Dwarfs is chillingly dark in places, reflecting its roots in European folklore, but the deft Disney touch ensures that the overall tone remains light and the story develops apace, swept along on the perfect musical score. Any lingering gloom is quickly dispelled by the superbly characterised dwarfs and by the humorous antics of the various irresistible fauna that threaten to steal the show in several scenes. The pioneering animation is breathtaking and songs such as "Heigh Ho, Heigh Ho" and "Whistle While You Work", now firmly embedded in popular culture, are seamlessly interwoven with the action.

Snow White and the Seven Dwarfs happens to be an interesting technological milestone in cinema history—it is also an enduring masterpiece of family entertainment. To the millions who have fallen under its spell over the years, this magical fairy tale remains one of Disney's most enchanting and best-loved films. Only Grumpy could resist. —Helen Baker

On the DVD: the video quality on this DVD is stunningly clear. Though it is noticeable that the film is nearly 65 years old, Disney has done a great job in the cleaning process: the bright colours shine clearly, the blacks are deep and the whites clear. There is little to no visible wearing on the film and the digital transfer has done wonders in restoring Snow White and her seven little pals. The sound is very clear and you get a real sense, in places, of the newly mastered 5.1 Dolby Sound enhancements that have been added, making for enjoyable listening to the well-loved songs.

The extras on disk one are plentiful and give a real insight into the making of Snow White. Little was done in 1937 for the filming of behind-the-scenes documentaries, but what could have been included has been. The audio commentary is strung together from interviews with Walt Disney himself, all of which are fascinating, and to keep the kids happy there is a familiar Disney sing-along and a Dopey game to play.

The disk two extras are packed with information on the movie and Disney, from the 3-D virtual tour of the Snow White kingdom, that also has some documentary information, to an outtakes section showing abandoned footage and ideas that were never included in the final movie. There is also an informative timeline of the creation of the Walt Disney Studios that includes some deleted scenes from the movie. Altogether, great additions to a classic film. —Robert Hyde

Peter Jackson With The Lord of the Rings: The Two Towers, the focus of Tolkien's epic story moves from the fantastic to the mythic, from magic and monsters towards men and their deeds, as the expanding panorama of Middle-earth introduces us to the Viking-like Riders of Rohan and the men of Gondor. Which is not to say that Peter Jackson's three-hour second instalment doesn't have its fair share of amazing new creatures—here we meet Wargs, Oliphaunts and winged Nazgul, to name three—just that the film is concerned more with myth-making on a heroic scale than the wide-eyed wonder of The Fellowship of the Ring.

There's no time for recapitulation, as a host of new characters are introduced in rapid succession. In Rohan we meet the initially moribund King Theoden (Bernard Hill); his treacherous advisor Grima Wormtongue (Brad Dourif); his feisty niece Eowyn (Miranda Otto); and his strong-willed nephew Eomer (Karl Urban). Faramir (David Wenham), brother of Boromir, is the other principal human addition to the cast. The hobbits, though, encounter the two most remarkable new characters, both of whom are digitally generated: in Fangorn Forest, Merry and Pippin are literally carried away by Treebeard, a dignified old Ent; while Frodo and Sam capture the duplicitous Gollum, whose fate is inextricably intertwined with that of the Ring.

The film stands or falls with Gollum. If the characterisation had gone the way of Jar Jar Binks, The Two Towers would have been ruined, notwithstanding all the spectacle and grandeur of the rest. But Gollum is a triumph, a tribute both to the computer animators and the motion-captured performance of Andy Serkis: his "dialogues", delivered theatre-like direct to the audience, are a masterstroke. Here and elsewhere Jackson is unafraid to make changes to the story line, bringing Frodo and Sam to Osgiliath, for example, or tipping Aragorn over a cliff. Yet the director's deft touch always seems to add not detract from Tolkien's vision. Just three among many examples: Aragorn's poignant dreams of Arwen (Liv Tyler); Gimli's comic repartee even in the heat of battle; and the wickedly effective siege weapons of the Uruk-Hai (which signify both Saruman's mastery and his perversion of technology). The climactic confrontation at Helm's Deep contains images the like of which have simply never been seen on film before. Almost unimaginably, there's so much more still to come in the Return of the King.

On the DVD: The Two Towers two-disc set, like the Fellowship before it, features the theatrical version of the movie on the first disc, in glorious 2.35:1 widescreen, accompanied by Dolby 5.1 or Dolby Stereo sound options. As before, commentaries and the really in-depth features are held back for the extended four-disc version.

Such as they are, all the extras are reserved for Disc Two. The 14-minute documentary On the Set is a run-of-the-mill publicity preview for the movie; more substantial is the 43-minute Return to Middle-Earth, another promotional feature, which at least has plenty of input from cast and crew. Much more interesting are the briefer pieces, notably: Sean Astin's charming silent short The Long and the Short of It, plus an amusing making-of featurette; a teaser trailer for the extended DVD release; and a tantalising 12-minute sneak peek at Return of the King, introduced by Peter Jackson, in which he declares nonchalantly that "Helm's Deep was just an opening skirmish"! —Mark Walker

Joseph J. Kane Jr.

Ang Lee Two master warriors (Chow Yun Fat and Michelle Yeoh) are faced with their greatest challenge when the treasured Green Destiny sword is stolen. A young aristocrat (Zhang Ziyi) prepares for an arranged marriage but soon reveals her superior fighting talents and her deeply romantic past. As each warrior battles for justice they come face to face with their worst enemy - and the inescapable enduring power of love.Set against 19th-century China's breathtaking landscape Crouching Tiger Hidden Dragon is the action-packed box office smash from acclaimed director Ang Lee (Sense and Sensibility The Ice Storm) featuring stunning martial arts choreography by Yuen Wo Ping (The Matrix).Bonus Features: Ang Lee and James Schamus Commentary BRAVO Making-Of Special: Unleashing the Dragon Conversation with Michelle Yeoh Featurette Photo Montage Link to Website Filmographics Animated Menus Production NotesSystem Requirements:Starring: Chow Yun-Fat Michelle Yeoh Ziyi Zhang and Chen Chang. Directed By: Ang Lee. Running Time: 120 Min. Color. This film is presented in "Widescreen" format. Copyright 2000 Columbia TriStar Home Video.Format: DVD MOVIE Genre: ACTION/ADVENTURE Rating: PG-13 UPC: 043396059900 Manufacturer No: 05990

Bill Lee

Michael Lehmann Some movies are so stupid that they are depressing to watch: 40 Days and 40 Nights is one of them. Almost nothing here even remotely resembles genuine human behaviour. Matt (Josh Hartnett) is brutally dumped by his knockout ex-girlfriend, and as a result is so torn-up inside that he vows to give up sexual activity—including masturbation—for Lent. His friends and coworkers start betting on how soon he'll crack. Their scepticism is fuelled when Matt meets Erica (Shannyn Sossamon) at a laundrette. They're immediately smitten with each other, but Matt struggles to stay true to his vow, even though it threatens to founder his potential relationship with Erica. Based on this description, you might think that 40 Days and 40 Nights is a religious educational video, however, the barrage of sex gags and frequent nudity will quickly dispel this notion. —Bret Fetzer

Doug Liman

Doug Liman For anyone who wants to catch a glimpse of the Los Angeles "lounge" scene that was in vogue during the early and mid-1990s, here's the movie that virtually defined that brief but colourful nightlife milieu. As an added bonus, it just happens to be a very funny, observant story about love, loss and male bonding among a group of friends who struggle to find decent jobs by day, and lurk through Hollywood's hottest nightclubs by night. A sort of latter-day Rat Pack, they include Mike (writer-actor Jon Favreau) and his closest buddy, Trent (Vince Vaughn), who are waiting for the big show-biz break that seems to be eluding them. Mike's twisted up about the girlfriend he left back East to pursue his going-nowhere standup comedy career, and Trent uses the word "money" as an adjective ("Man, we look totally money tonight") with such frequency that you may find yourself slipping into lounge-lizard mode after watching the movie. One of the most noteworthy indie-film success stories of the 90s, Swingers is a time-capsule comedy that seized its moment in the spotlight, launched several promising careers and continues to maintain its lasting appeal. —Jeff Shannon

Steven Lisberger, Robert Meyer Burnett

Stephen Low One of the best directors of IMAX films, Stephen Low (Titanica) has always been a race fan. After obtaining permission from CART, a governing body of Indy car racing and Newman/Haas racing (a Championship team co-owned by Paul Newman), Low found his stars for Super Speedway: the racing Andrettis, father Mario and son Michael. Mounting cameras fore and aft on the Andrettis' cars, IMAX offers a better vantage point than an ESPN camera, at a superior grade of clarity. Add to that the excellent sound and you can "feel" the bumps on the asphalt as the cars zoom in and out of corners. The large format can turn a pit stop into a dramatic 12 seconds as we see the driver's eyes dart away from his cockpit for a few brief seconds. We watch Michael Andretti on oval tracks and exciting road courses going over hills and sharp turns. There's even a spin—probably staged—from an angle we've never seen before.

Although true race conditions were impossible (the camera is just too bulky), Low sneakily edits his film to stretch the imagination. On race day, several Indy cars drove alongside the camera car hours before the main event, passing and drafting each other with crowds whizzing past them. When edited with footage of the race, it feels like the real thing. Low takes a few off-beat choices in setting up his story. The first image is the biggest chicken you've ever seen. The last shot is a 1950s car (lovingly restored during the film) racing through perfect golden foliage on an autumn day. It gives his movie of modern technology a wonderful sense of nostalgia. —Doug Thomas, Amazon.com

Robert Luketic An extraordinary comic performance from Reese Witherspoon makes Legally Blonde a winner. Witherspoon's Elle is a ditzy blonde forced by circumstances to metamorphose into a strong-minded and academic lawyer, without losing her strong sense of self in the process. After majoring in fashion sales, she applies to Harvard Law School to pursue the boy who jilted her, and discovers that she is smart as well as beautiful.

Much of this is standard fish-out-of-water fare, with drab "intellectuals" snubbing the colourful and well-meaning Elle. Yet feminists will be disconcerted to discover that, apparently, a life of manicures and accessorising will teach you as much about female solidarity as decades of consciousness-raising! Recruited to the defence team of a fitness guru, she takes the defendant's innocence for granted rather than feeling superior to her. Gradually, she and her ex's new fiancée build a fragile friendship that matters to both of them; Selma Blair is excellent as the snobbish vulnerable Vivienne. It might be a predictable self-help fairytale, but it's also well-observed, cute and funny.

On the DVD: the DVD is presented in 1.78:1 ratio with 5.1 Dolby digital sound as standard. The disc also comes with a wealth of features, including a documentary on the film's obsession with hairstyles—outlining the struggle to keep its heroine bleach blonde from day to day—and a bubbly commentary from Witherspoon and director Robert Luketic. There are also promos, a theatrical trailer and an optional trivia track. —Roz Kaveney

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

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

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

McG Happily Charlie's Angels is a surprisingly successful TV-into-movie update of the seminal 1970s jiggle show. Cameron Diaz, Drew Barrymore (who also produced) and Lucy Liu star as the hair-tossing, fashion-setting, kung-fu fighting trio employed by the mysterious Charlie (voiced by the original Charlie, John Forsythe). When a high-tech programmer (Sam Rockwell) is kidnapped, the angels seek out the suspects, with the daffy Bosley (Bill Murray in a casting coup) in tow. A happy, cornball popcorn flick, Charlie's Angels is played for laughs with plenty of ribbing references to the old TV show as well as modern caper films like Mission: Impossible. McG, a music video director making his feature film debut (usually a death warrant for a movie's integrity), infuses the film with plenty of Matrix-style combat pyrotechnics, and the result is the first successful all-American Hong Kong-style action flick. Plenty of movies boast a New Age feminism that has their stars touting their sexuality while being their own women, but unlike something as obnoxious as Coyote Ugly, Angels succeeds with a positive spin on Girl Power for the new millennium (Diaz especially sizzles in her role of crack super agent/airhead blonde). From the send-up of the TV show's credit sequence to the outtakes over the end credits, Charlie's Angels is a delight. —Doug Thomas, Amazon.com

John McNaughton Wild Things is the kind of lurid, trashy thriller that you'll either dive into with unabashed pleasure or turn away from in prudish disgust; it's entirely your choice, but we suggest the former option since it's obviously much more fun. The plot's so convoluted it's hardly worth describing, except to say that it's set in humid Florida and involves a respected high school teacher (Matt Dillon—yes, Matt Dillon as a teacher!) who is faced with accusations of rape by a student (Denise Richards, from Starship Troopers) who had been giving him the kind of attention most people would consider improper for such a "nice" young lady. Another student (Neve Campbell) raises a similar charge against the teacher, and that's when a police officer (Kevin Bacon) begins to investigate the allegations. Just when you think the movie's gone overboard with its shameless sex and absurdly twisted plot, in drops Bill Murray as an unscrupulous lawyer (of course) to spice things up with insurance scams and welcomed comic relief. As directed by John McNaughton (who has a way of making just the right moves with this kind of film noir melodrama), Wild Things is a bona fide guilty pleasure—the kind of movie you may be ashamed to enjoy, but what the heck, you'll enjoy it anyway. —Jeff Shannon

Roger Michell They don't really make many romantic comedies like Notting Hill anymore—blissfully romantic, sincerely sweet, and not grounded in any reality whatsoever. Pure fairy tale, and with a huge debt to Roman Holiday, Notting Hill ponders what would happen if a beautiful, world-famous person were to suddenly drop into your life unannounced and promptly fall in love with you. That's the crux of the situation for William Thacker (Hugh Grant), who owns a travel bookshop in London's fashionable Notting Hill district. Hopelessly ordinary (well, as ordinary as you can be when you're Hugh Grant), William is going about his life when renowned movie star Anna Scott (Julia Roberts) walks into his bookstore and into his heart. After another contrived meeting involving spilled orange juice, William and Anna share a spontaneous kiss (big suspension of disbelief required here), and soon both are smitten. The question is, of course, can William and Anna reconcile his decidedly commonplace bookseller existence and her lifestyle as a jet-setting, paparazzi-stalked celebrity? (Take a wild guess at the answer.) Smartly scripted by Richard Curtis (Four Weddings and a Funeral) and directed by Roger Michell (Persuasion), Notting Hill is hardly realistic, but as wish fulfilment and a romantic comedy, it's irresistible. True, Roberts doesn't really have to stretch very far to play a big-time actress who makes $15 million per movie, but she's more winning and relaxed than she's been in years, and Grant is sweetly understated as a man blindsided by love. Together, in moments of quiet, they're a charming couple, and you can feel her craving for real love and his awe and amazement at the wonderful person for whom he has fallen. The only blight on the film is its overbearing pop soundtrack, though Elvis Costello's heart-wrenching version of "She" gets poignant exposure. With Rhys Ifans as Grant's scene-stealing, slovenly housemate and Alec Baldwin in a sly, perfectly cast cameo. —Mark Englehart

Kôji Morimoto, Mahiro Maeda, Andy Jones (VI), Shinichirô Watanabe, Peter Chung

Mike Newell

Nintendo Start your engines and race with Mario and his friends with their finely tuned racing machines in Mario Kart Wii. Use 3 different control styles with the Wii Wheel included in the box. The worldwide race is on with a whole new set of tricks, tracks, and ways to play. Mario Kart Wii draws on courses and battle arenas from every game in the series - not to mention tons of new ones. The true king of the Mushroom Kingdom racing circuits will finally be crowned. Experience new tracks, enhanced Wii graphics, extraordinary gameplay and much more. Place first in Grand Prix circuits or clear skill-based missions to open up increasingly difficult and thrilling circuits. You can have multiplayer races on any open courses or battle in arenas. Now you can feel like you are Mario and steering to avoid obstacles and doing incredible stunts.

Special Powers/Weapons/Moves/Features - Shake the Wii Remote to pull off a trick that will temporarily boost your speed. When riding a bike, gain additional speed by flicking the Wii Remote up and popping a wheelie Up to 12 people via Nintendo Wi-Fi Connection or up to 10 people via Wi-Fi Connection with 2 people playing locally

Nintendo Get a great workout right in your home without going to the gym. Nintendo Wii Fit with Wii Balance Board turns your living room into a fitness center for the whole family. Family members will have fun getting a "core" workout, and talking about and comparing their results and progress on a new channel on the Wii Menu. Aerobic Exercise - 10-minute exercises that are designed to get your heart pumping Muscle Conditioning - Controlled motions using arms, legs and other body parts Yoga Poses - Classic poses that focus on balance and stretching Balance Games - Fun activities, such as ski jumping and heading soccer balls, that challenge the player's overall body balance

Heather Paper

Nick Park

Andrew Piddington

Bob Polomski Month-by-Month™ guides offer valuable advice on the proper timing of gardening maintenance for each month. Month-by-Month™ Gardening in the Carolinas is one of the first titles of the redesigned series from Cool Springs Press.

Top features include: 4-color photography and illustrations to demonstrate cultural practicesCovers all major plant categoriesSpecific advice for every month of the yearUpdated edition includes text revisions, additional reference materials, and a new design

Harold Ramis Brendan Fraser stars in Bedazzled as Elliot, a dweebish office worker who yearns for Alison (Frances O'Connor), a coworker who barely knows he exists. When he blithely says he'd give his soul for Alison, the Devil appears in the fetching guise of Elizabeth Hurley and promises him seven wishes in exchange. Elliot is dubious at first, but agrees out of desperation. Unfortunately, his every wish always leaves the Devil with a little wiggle-room. When he asks to be rich and powerful, the Devil turns him into a drug lord beset on all sides. When he asks to be a successful, well-endowed writer, the Devil adds a male lover to the mix. The setup and situations are clever, though this Bedazzled has less bite than the original 1968 version starring Dudley Moore and Peter Cook. It does, however, provide some better comic substance for Fraser than most of his previous roles and will give his fans something to enjoy. O'Connor is entirely pleasant in her largely straight role, and Hurley fills out her part delectably by filling out a number of revealing outfits. This is an enjoyable bit of froth. —Bret Fetzer, Amazon.com

Brett Ratner Experience the awesome power of The X-Men's epic final battle. Join well-known mutant heroes and villains and meet a cadre of all-new warriors — including Angel Beast Juggernaut and Colossus — in this thrilling explosive adventure!After a controversial cure is discovered mutants can choose to retain their superhuman abilities or give up their unique gifts and become normal. When peaceful mutant leader Charles Xavier (Patrick Stewart) clashes with his militant counterpart Magneto (Ian McKellen) the battle lines are drawn for the war to end all wars.Bursting with nonstop action spectacular special effects and exclusive extras X-MEN THE LAST STAND is a force of nature that will blow you away! System Requirements:Running Time: 104 MinutesFormat: DVD MOVIE Genre: ACTION/ADVENTURE Rating: PG-13 UPC: 024543373926 Manufacturer No: 2237392

Rob Reiner Nora Ephron wrote the brisk screenplay for this 1989 romantic comedy, director Rob Reiner made a nicely glossy New York story (very much in a Woody Allen vein) out of it, and Billy Crystal's unstoppable charm made it something really special. Crystal and Meg Ryan play longtime platonic friends who keep dancing around their deeper feelings for one another. Bruno Kirby and Carrie Fisher are their respective pals who fall in love and get married. Ryan doesn't get a lot of funny material apart from her famous faked orgasm scene, but her performance is typically alive and intuitive, and she more than holds her own with Crystal's comic motor mouth and sweet sentimentality. Reiner is on comfortable ground, liberated from the burden of making serious statements in the lead-footed manner of subsequent features. —Tom Keogh

Jay Roach "I put the grrr in swinger, baby!" a deliciously randy Austin Powers coos near the beginning of The Spy Who Shagged Me and if the imagination of Austin creator Mike Myers seems to have sagged a bit, his energy surely hasn't. This friendly, go-for-broke sequel to 1997's Austin Powers: International Man of Mystery finds our man Austin heading back to the 1960s to keep perennial nemesis Dr. Evil (Myers again) from blowing up the world—and, more importantly, to get back his mojo, that man-juice that turns Austin into irresistible catnip for women, especially American spygirl Felicity Shagwell (a pretty but vacant Heather Graham). The plot may be irreverent and illogical, the jokes may be bad (with characters named Ivana Humpalot and Robin Swallows, née Spitz), and the scenes may run on too long, but it's all delivered sunnily and with tongue firmly in cheek.

Myers's true triumph, though, is his turn as the neurotic Dr Evil, who tends to spout the right cultural reference at exactly the wrong time (referring to his moon base as a "Death Star" with Moon Units Alpha and Zappa—in 1969). Myers teams Dr Evil with a diminutive clone, Mini-Me (Verne J Troyer), who soon replaces slacker son Scott Evil (Seth Green) as the apple of the doctor's eye; Myers and Troyer work magic in what could plausibly be one of the year's most affecting (and hysterically funny) love stories. Despite a stellar supporting cast—including a sly Rob Lowe as Robert Wagner's younger self and Mindy Sterling as the forbidding Frau Farbissina—it—it's basically Myers's show, and he pulls a hat trick by playing a third character, the obese and disgusting Scottish assassin Fat Bastard. Many viewers will reel in disgust at Mr Bastard's repulsive antics and the scatological jokes Myers indulges in, including one showstopper involving coffee and—shudder—a stool sample. Still, Myers's good humour and dead-on cultural references win the day; Austin is one spy who proves he can still shag like a minx. —Mark Englehart

Gus Van Sant Robin Williams won the Oscar for Best Supporting Actor, and actors Matt Damon and Ben Affleck nabbed one for Best Original Screenplay, but the feel-good hit Good Will Hunting triumphs because of its gifted director, Gus Van Sant. The unconventional director (My Own Private Idaho, Drugstore Cowboy) saves a script marred by vanity and clunky character development by yanking soulful, touching performances out of his entire cast (amazingly, even one by Williams that's relatively schtick-free). Van Sant pulls off the equivalent of what George Cukor accomplished for women's melodrama in the 1930s and 40s: He's crafted an intelligent, unabashedly emotional male weepie about men trying to find inner-wisdom.

Matt Damon stars as Will Hunting, a closet maths genius who ignores his gift in favour of nightly boozing and fighting with South Boston buddies (co-writer Ben Affleck among them). While working as a university janitor, he solves an impossible calculus problem scribbled on a hallway blackboard and reluctantly becomes the prodigy of an arrogant MIT professor (Stellan Skarsgård). Damon only avoids prison by agreeing to see psychiatrists, all of whom he mocks or psychologically destroys until he meets his match in the professor's former childhood friend, played by Williams. Both doctor and patient are haunted by the past and, as mutual respect develops, the healing process begins. The film's beauty lies not with grand climaxes, but with small, quiet moments. Scenes such as Affleck's clumsy pep talk to Damon while they drink beer after work, or any number of therapy session between Williams and Damon offer poignant looks at the awkward ways men show affection and feeling for one another. —Dave McCoy

Joel Schumacher

Ridley Scott A big-budget summer epic with money to burn and a scale worthy of its golden Hollywood predecessors, Ridley Scott's Gladiator is a rousing, grisly, action-packed epic that takes movie-making back to the Roman Empire via computer-generated visual effects. While not as fluid as the computer work done for, say, Titanic, it's an impressive achievement that will leave you marvelling at the glory that was Rome, when you're not marvelling at the glory that is Russell Crowe. Starring as the heroic general Maximus, Crowe firmly cements his star status both in terms of screen presence and acting chops, carrying the film on his decidedly non-computer-generated shoulders as he goes from brave general to wounded fugitive to stoic slave to gladiator hero. Gladiator's plot is a whirlwind of faux-Shakespearean machinations of death, betrayal, power plays, and secret identities (with lots of faux-Shakespearean dialogue ladled on to keep the proceedings appropriately "classical"), but it's all briskly shot, edited, and paced with a contemporary sensibility. Even the action scenes, somewhat muted but graphic in terms of implied violence and liberal bloodletting, are shot with a veracity that brings to mind—believe it or not—Saving Private Ryan. As Crowe's nemesis, the evil emperor Commodus, Joaquin Phoenix chews scenery with authority, whether he's damning Maximus's popularity with the Roman mobs or lusting after his sister Lucilla (beautiful but distant Connie Nielsen); Oliver Reed, in his last role, hits the perfect notes of camp and gravitas as the slave owner who rescues Maximus from death and turns him into a Colosseum star. Director Scott's visual flair is abundantly in evidence, with breathtaking shots and beautiful (albeit digital) landscapes, but it's Crowe's star power that will keep you in thrall—he—he's a true gladiator, worthy of his legendary status. Hail the conquering hero! —Mark Englehart, Amazon.com

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

Adam Shankman The good news is, yes, Jennifer Lopez can do comedy. In The Wedding Planner Lopez is Mary, a lovable woman who believes "those who can't do, teach. Those who can't wed, plan!" Her slapstick moments are light-hearted and offer a spot-on performance as the compulsive-yet-sweet planner. The bad news is Lopez didn't get much of a vehicle in which to test drive her newfound comedic skills.

The main problem with this film is that no one wants to hurt anyone else's feelings. Everyone is just so gosh-darn nice. In a subplot, Mary's father is trying to arrange her marriage to just the nicest Italian boy. Gee, he's sweet. Golly, Mary's rival in love Fran is so nice. Yet, there is a touch of old-fashioned romance to this wholesome film, which can only be described as "cute." While things may unfold in a predictable manner, The Wedding Planner is still light-hearted fun of the sort that inspires dreamy romantic thoughts. —Jenny Brown, Amazon.com

On the DVD: The Wedding Planner on disc has a soft focus to the widescreen 2.35:1 image which is perfect for this purely entertaining romantic comedy fluff. The soundtrack is done well with both the dialogue and music coming through crisp and clear and despite the fact that this DVD doesn't set out to be a special edition there is more than enough to keep extras features fans happy. There's a good audio commentary from director Adam Shankman and writers Pamela Falk and Michael Ellism as well as a couple of rough-cut deleted scenes with commentary, and two featurettes—one on the making of the film and the second on the choreography of the tango sequence. —Kristen Bowditch

Ron Shelton One of the better romantic comedies of the 1990s, this quirky love story stars Kevin Costner as washed-up golf pro, Roy "Tin Cup" McAvoy, who has the singular misfortune of falling in love with the girlfriend (Rene Russo) of his arch rival (Don Johnson). Although he is inspired to re-ignite his golf career, challenge his opponent in the US Open, and win the affection of the woman of his dreams, McAvoy has just one flaw: he's a show off when he should just focus on playing the game. Reunited with his Bull Durham writer-director Ron Shelton, Costner fits into his Tin Cup role like a favourite pair of shoes and costar Cheech Marin scores a memorable scene-stealing comeback as McAvoy's best buddy, Romeo Posar. Mixing his love of sports with his flair for fresh, comedic dialogue, Shelton takes this enjoyable movie down unexpected detours (although some may find it a bit too long), and his characters are delightfully unpredictable. —Jeff Shannon

Bryan Singer Ever since this convoluted thriller dazzled audiences and critics in 1995 and won an Oscar for Christopher McQuarrie's twisting screenplay, The Usual Suspects has continued to divide movie lovers into opposite camps. While a lot of people take great pleasure from the movie's now-famous central mystery (namely, "Who is Keyser Söze?"), others aren't so easily impressed by a movie that's too enamoured of its own cleverness to make much sense. After all, what are we to make of a final scene that renders the entire movie obsolete? Half the fun of The Usual Suspects is the debate it provokes and the sheer pleasure of watching its dynamic cast in action, led (or should we say, mislead) by Oscar-winner Kevin Spacey as the club-footed con man who recounts the saga of enigmatic Hungarian mobster Keyser Söze. Spacey's in a band of thieves that includes Gabriel Byrne, Stephen Baldwin, Kevin Pollak, and Benicio Del Toro, all gathered in a plot to steal a large shipment of cocaine. The story is told in flashback as a twisted plot being described by Spacey's character to an investigating detective (Chazz Palmintieri), and The Usual Suspects is enjoyable for the way it keeps the viewer guessing right up to its surprise ending. Whether that ending will enhance or extinguish the pleasure is up to each viewer to decide. Even if it ultimately makes little or no sense at all, this is a funny and fiendish thriller, guaranteed to entertain even its vocal detractors. —Jeff Shannon

Bryan Singer Born into a world filled with prejudice are children who possess extraordinary and dangerous powers - the result of unique genetic mutations. Cyclops unleashes bolts of energy from his eyes. Storm can manipulate the weather at will. Rogue absorbs the life force of anyone she touches. But under the tutelage of Professor Xavier (Patrick Stewart) these and other outcasts learn to harness their powers for the good of mankind. Now they must protect those who fear them as the nefarious Magneto (Ian McKellen) who believes humans and mutants can never co-exist unveils his sinsiter plan for the future!System Requirements:Running Time: 120 min.Format: DVD MOVIE Genre: SCI-FI/FANTASY Rating: PG-13 UPC: 024543900955 Manufacturer No: 2110095

Kevin Smith Writer-director Kevin Smith (Clerks) makes a huge leap in sophistication with this strong story about a comic-book artist (Ben Affleck) who falls in love with a lesbian (Joey Lauren Adams) and actually gets his wish that she love him, too. Their relationship is attacked, however, by his business partner (Jason Lee), who pulls a very unsubtle Iago act to cast doubt over the whole affair. The film has the same sense of insiderness as Clerks—this time, Smith takes us within the arcane, funny world of comic-book cultism—but the themes of jealousy, deceit and the high price of growing up enough to truly care for someone make this a very satisfying movie. —Tom Keogh

Steven Soderbergh Ocean's Eleven improves on 1960's Rat Pack original with supernova casting, a slickly updated plot and Steven Soderbergh's graceful touch behind the camera. Soderbergh reportedly relished the opportunity "to make a movie that has no desire except to give pleasure from beginning to end", and he succeeds on those terms, blessed by the casting of George Clooney as Danny Ocean, the title role originated by Frank Sinatra. Fresh out of jail, Ocean masterminds a plot to steal $163 million from the seemingly impervious vault of Las Vegas's Bellagio casino, not just for the money but to win his ex-wife (Julia Roberts) back from the casino's ruthless owner (Andy Garcia). Soderbergh doesn't scrimp on the caper's comically intricate strategy, but he finds greater joy in assembling a stellar team (including Brad Pitt, Matt Damon, Don Cheadle and Carl Reiner) and indulging their strengths as actors and thieves. The result is a film that's as smooth as a silk suit and just as stylish. —Jeff Shannon

On the DVD: Ocean's Eleven on disc is hardly swarming with special features, but just like all good heists it's quality not quantity that counts. Although the DVD-ROM feature is simply a game of computer blackjack, the cast list simply that and the HBO special just a standard Hollywood promo, the two refreshing and honest commentaries more than compensate. The cast commentary is lively and it's nice to hear intelligent comments coming from Hollywood's big league for a change. However, it's the director and writer's commentary that is the real gem; it's funny, enlightening and most of all it allows Ted Griffin to put the case forward for all screenwriters across the world as to the importance of their craft. The main feature has an impressive transfer of sound and visuals, making the suits sharper and David Holmes' soundtrack even funkier. —Nikki Disney

Anna Starmer

Gore Verbinski Part road movie, part romantic comedy, part thriller and a whole lotta fun, The Mexican could get by on star power alone, but it offers Brad Pitt, Julia Roberts and a clever plot full of delightful surprises. It's a thoroughly enjoyable shaggy-dog story in which the downtrodden Jerry Welbach (Pitt) copes with a dual dilemma: his girlfriend Samantha (Roberts) has just dumped him to pursue solo ambitions in Las Vegas, and a manipulative mobster has ordered Jerry to Mexico to retrieve a coveted antique pistol (the "Mexican" of the title) that carries a legacy of legend, death and danger. Jerry soon has his hands full with bandits, bloodshed, and a grizzly hound dog that vanishes and reappears with amusing regularity. En route to Vegas, Samantha's taken hostage by a burly assassin (James Gandolfini) who's attached to the gun-fetching scheme and is, in more ways than one, not who he seems to be.

Like a good magic act, JH Wyman's original screenplay distracts you from its gaps of logic, using unexpected revelations to fuel its strategic vitality. It also provides a wealth of character development, and director Gore Verbinski (Mouse Hunt) gives his stellar cast equal time to shine. It hardly matters that Pitt and Roberts spend most of the film apart; their time together is worth waiting for, and the machinations that separate them play out like a cross between vintage Peckinpah and Romancing the Stone. And why is the accursed pistola so valuable? That's just another surprise, setting the stage for the arrival of yet another big-name star, whose motivations are pure in a film full of double-crosses and darkly shaded humour. With a giddy plot such as this, star power is just icing on the cake.—Jeff Shannon, Amazon.com

On the DVD: The "making of" featurette is a fast-paced look behind the scenes of the film complete with a humorous American voiceover, which enhances the impression that this is a made-for-TV marketing feature. More interesting are the many deleted scenes, with optional commentary by Gore Verbinski (Director), Craig Wood (Editor) and John Wyman (Writer), who do a great job in explaining why the cuts were made and offer an insight into the difficulty of making these decisions. The full-length feature commentary, with the same group, is lively, amusing and enlightening. The film itself is nicely presented in16:9 anamorphic widescreen and Dolby 5.1. —Nikki Disney

Paul Verhoeven When it arrived on the big screen in 1987, Paul Verhoeven's RoboCop was like a high-voltage jolt of electricity, blending satire, thrills, and abundant violence with such energized gusto that audiences couldn't help feeling stunned and amazed. The movie was a huge hit, and has since earned enduring cult status as one of the seminal science fiction films of the 1980s. Followed by two sequels, a TV series, and countless novels and comic books, this original RoboCop is still the best by far, largely due to the audacity and unbridled bloodlust of director Verhoeven. However, the reasons many enjoyed the film are also the reasons some will surely wish to avoid it. Critic Pauline Kael called the movie a dubious example of "gallows pulp," and there's no denying that its view of mankind is bleak, depraved, and graphically violent. In the Detroit of the near future, a policeman (Peter Weller) is brutally gunned down by drug-dealing thugs and left for dead, but he survives (half of him, at least) and is integrated with state-of-the-art technology to become a half-robotic cop of the future, designed to revolutionize law enforcement. As RoboCop holds tight to his last remaining shred of humanity, he relentlessly pursues the criminals who "killed" him. All the while, Verhoeven (from a script by Edward Neumeier and Michael Miner) injects this high-intensity tale with wickedly pointed humour and satire aimed at the men and media who cover a city out of control. —Jeff Shannon, amazon.com

Paul Verhoeven A gloriously over-the-top treat, Paul Verhoeven's Starship Troopers takes the militaristic moralising of Robert Heinlein's pulp classic and sets about undermining it mercilessly. Johnny Rico (Casper Van Dien) desperately wants to join the Mobile Infantry and kill some Earth-threatening alien bugs. He also desperately wants Carmen (Denise Richards), but only gets to fulfil one ambition in the second of Verhoeven's futuristic satires (also cowritten with his RoboCop scriptwriter Ed Neumeier).

Set in a fascistic future where kids must do military service to qualify as citizens, own property or even have babies, the film's dark Vietnam and Nazi-era parallels are all the more disturbing given its deceptively sunny Beverly Hills 90210 teenage cast (though scenery-chewing veteran Michael Ironside steals the movie as tough-talking Lt Rasczak). The CGI arachnids are among the most convincing and dangerous-looking creatures ever seen on screen, and with the movie clocking up the highest number of blanks ever fired on a film set, it's also pretty loud! Verhoeven went on to be Executive Producer of the Roughnecks: The Starship Troopers Chronicles animated TV series a couple of years later.

On the DVD: Starship Troopers in this DVD incarnation can now be played continuously on one side of the disc (the original Region 2 release version was that crime against the DVD format, a "flipper"). You'll also feel really spoiled by the extras here: five deleted scenes (approximately six minutes) pad out Carmen's love triangle problems. There are impressive screen tests for Denise Richards and Casper Van Dien (three-and-a-half minutes). An eight-minute featurette zips by with key interviews and fact flinging. And a real treat is three scene developments with layers of FX work explained by Verhoeven. But what makes this DVD essential is the director's enthusiastic commentary alongside screenwriter Ed Neumeier: dissing astrology, making a stand for feminist issues, saying how he went nude to placate the actors for their shower scene, and drooling with praise for his FX team, Verhoeven makes a fascinating statement that "war makes fascists of us all". After a studio disclaimer, and beginning with his reaction to the film's critique in Time Magazine, this is no-holds-barred fun. —Paul Tonks

Larry Wachowski, Andy Wachowski Destined for cult status, this provocative thriller offers a grab bag of genres (gangster movie, comedy, sexy romance, crime caper) and tops it all off with steamy passion between lesbian ex-con Corky (Gina Gershon) and a not-so-ditzy gun moll named Violet (Jennifer Tilly), who meets Corky and immediately tires of her mobster boyfriend (Joe Pantoliano). Desperate to break away from the Mob's influence and live happily ever after, the daring dames hatch a plot to steal $2 million of Mafia money. Their scheme runs into a series of escalating complications, until their very survival depends on split-second timing and criminal ingenuity. Simultaneously violent, funny and suspenseful, Boundis sure to test your tolerance for bloodshed but the film is crafted with such undeniable skill that several critics(including Roger Ebert) placed it on their top-10 lists for 1996. —Jeff Shannon

Larry Wachowski, Andy Wachowski By following up their debut thriller Bound with the 1999 box-office smash The Matrix, the co-directing Wachowski brothers—Andy and Larry—annihilated any suggestion of a sophomore jinx, crafting one of the most exhilarating sci-fi/action movies of the 1990s. With mind-boggling, technically innovative special effects and a thought-provoking script that owes a debt of inspiration to the legacy of cyberpunk fiction, this is much more than an out-and-out action yarn; it's a thinking man's journey into the realm of futuristic fantasy, a dreamscape full of eye candy that will satisfy sci-fi, kung fu, action and adventure fans alike. Although the film is headlined by Keanu Reeves and Laurence Fishburne—who both turn in fine performances—much of the fun and excitement should be attributed to Carrie-Anne Moss, whose Trinity flawlessly mixes vulnerability with immense strength, making other contemporary female heroines look timid by comparison. And if we were going to cast a vote for most dastardly movie villain of 1999, it would have to go to Hugo Weaving, who plays the feckless, semi-psychotic Agent Smith with panache and edginess. As the film's box-office profits soared, the Wachowski brothers announced that The Matrix is merely the first chapter in a cinematically dazzling franchise. —Jeremy Storey

In the Box Set: That this Collector's Edition should appear less than a year after The Matrix's first DVD release indicates the degree to which the film has become an instant classic and set the initial benchmark for DVD quality and extra features. The chunky black box (about the size of the yellow pages) houses a slide-out tray containing the DVD, eight original lobby cards, an original one-sheet movie poster, six black and white photographs and a movie image card with the corresponding 35mm film frame attached. As with all such sets the whole is rapidly diminished by removing its parts, presenting the dilemma of whether to mount the poster and pictures, or leave them pristine but unseen in their original state.

The DVD included is the same version available individually, including extensive behind-the-scenes features on the film's special effects. Contrary to the advertised contents, however, the disc does not contain the audio commentaries by Carrie-Anne Moss, editor Zach Staenberg and visual effects supervisor John Gaeta, or the music-only audio track with commentary by composer Don Davis (all of which are currently only available on the American version). —Steve Napleton

Larry Wachowski, Andy Wachowski The Matrix Reloaded delivers added amounts of everything that the first film had, with the exception of surprises. We see more of the "real world" in the "last human city" of Zion and we go back to the 1999-look urban virtual reality of the Matrix for more encounters with artificially-intelligent baddies and—the real reason you've turned up—a lot more martial arts superheroics.

The downside is that this is just part one of a two-pack of sequels, with Revolutions required to tie up the story and sort out a great deal of plot confusion. There are other problems: none of the stars have much good material to work with outside the fights and stunts, which makes the film sorely miss the mix of science fiction thrills and character interplay of the original instalment.

However, the Wachowski Brothers still deliver more than enough stand-alone instant classic action sequences to make you ignore their duff script: in particular, Reeves and Hugo Weaving square off in a rumble that gets dicey, as more and more identical Weavings come out of the woodwork to pile on the lone hero; and a full quarter of an hour is devoted to a chase through the Matrix that lets Laurence Fishburne shoulder the heroic business. A last-reel encounter with a virtual God, the architect of the Matrix, finally delivers some major plot advances, but the scene is so brilliantly shot and designed—with Reeves framed against a wall of TV screens that show multiple versions of himself—that it's easy to be distracted by the decor and miss the point of what's being said. —Kim Newman

On the DVD: The Matrix Reloaded two-disc set amazingly has very little in-depth stuff on this physically impressive movie; there's not even a commentary track. Perhaps the Wachowski Brothers want to keep their enigmatic aura, or perhaps there's a better DVD coming after the trilogy ends? Best here is the 30-minute feature on the incredible freeway chase: here you get the inside scoop on how the titanic 12-minute sequence was put together. There's plenty of material on the second disc, but it's just filler, with the actors talking about how great it is to work again with the Matrix team and plenty of quick edits of explosions and other "cool" things. There's a segment on product placement, 30 minutes on how the video game was created and the MTV Movie Awards parody. The features feel more like pre-movie hype than post-film deconstruction. Dolby 5.1 sound is suitably spectacular—but there's no DTS option—and the super-wide 2.40:1 picture is, of course, pin-sharp, bringing out all the lavish detail and highlighting the contrast between the green-hued Matrix and the grimy grey real world. —Doug Thomas

Larry Wachowski, Andy Wachowski The opening reels of Matrix Revolutions do nothing to dispel the feeling of exhausted disappointment that set in during the second half of The Matrix Reloaded. There's plenty more talky guff combined with the picking-up of hard-to-remember plot threads as Neo (Keanu Reeves) lies in a coma in the "real" world and is stranded on a tube station in a limbo "beyond the Matrix" while his allies do a reprise of the shooting-their-way-past-the-bodyguards bit from the last film (this time, the baddies can walk on the ceiling). A new Oracle (Mary Alice) makes some pronouncements about the end being near and more things happen—including the evil Agent Smith (Hugo Weaving) manifesting in reality by possessing a minor character and perfidiously blinding our hero, who wears a becoming ribbon over his wounded eyes and perceives the world in an impressive "flaming truth vision".

What about the action? The equivalent of the last film's freeway chase scene is a huge face-off as the Sentinels (robot squids) finally breach the caverns of Zion, "the last human city", and swarm against a battalion of pilot-manipulated giant robots: here, the effects are seamless and the images astonishing, though the fact that none of the major characters are involved and the whole thing goes on so long as if designed to top any previous robot-on-robot screen carnage means that it becomes monotonously amazing, like watching someone else play a great computer game. After a too-easily-managed major realignment of the enmities, the film—and the series—finally delivers a sign-off sequence that's everything you could want as Neo and Smith get into a kung fu one-on-one in a rain-drenched virtual city, flying as high as Superman and Brainiac in smart suits. It comes too late to save the day and the wrap-up is both banal and incoherent, but at least this single combat is a reward for hardy veterans who've sat through seven hours of build-up. —Kim Newman

On the DVD: when the first Matrix DVD was released, with never-before-seen features such as the "Follow the White Rabbit" option, it set a benchmark against which subsequent discs were judged. But neither sequel has lived up to the original's high standards. The Matrix Revolutions two-disc set is an unexceptional package, with a routine "making of" featurette being the main bonus item. Amid all the usual backslapping guff about how great everyone is and what a great time they've all had, it's possible to glean some nuggets of useful information about the baffling plot—though cast and crew can't repress a note of weariness creeping in when discussing the horribly protracted shooting schedule. The feature on the CG Revolution is the most informative for people who like to know how everything was done, and, in the same vein, there's also a multi-angle breakdown of the Super Burly Brawl. A 3-D timeline gives a handy summary of the story so far, and there's a plug for The Matrix Online game. The anamorphic 2.40:1 picture is, of course, a real treat to look at, even if the movie is mostly shades of dark grey and dark green; soundwise the dynamic range of the Dolby Digital surround is extreme: all conversations are conducted in throaty whispers, while the action sequences will push your speakers to the limit. No DTS option, though. And as with Reloaded, there's no audio commentary either: the Wachowski's policy of not talking about their creation begins to seem like a ploy to avoid answering awkward questions. —Mark Walker

Peter Weir The whole world is watching—literally—every time Truman Burbank makes the slightest move. Unbeknownst to him, in this hauntingly funny film by Peter Weir, his entire life has been an unending soap opera for consumption by the rest of the world. And everyone he knows—including his mother, his wife and his bestfriend—is really an actor, paid to be part of his life. In this intriguing and surprisingly touching 1998 film, writer Andrew Niccol imagines an ultimate kind of celebrity, then sees it brought to life with comic intensity and emotional honesty by Jim Carrey in what maybe the performance of his career. Carrey has exceptional support from Laura Linney and Ed Harris but it's his show, in a portrayal that demonstrates just what kind of range Carrey is capable of. —MarshallFine

Joss Whedon The crew of Serenity find themselves wanted by the Interplanetary Alliance when they agree to hide a man and his sister on their spaceship.
Genre: Feature Film-Action/Adventure
Rating: PG13
Release Date: 23-MAY-2006
Media Type: DVD

Terence Young Directed with consummate skill by Terence Young, the second James Bond spy thriller is considered by many fans to be the best of them all. Certainly Sean Connery was never better as the dashing Agent 007, whose latest mission takes him to Istanbul to retrieve a top-secret Russian decoding machine. His efforts are thwarted when he gets romantically distracted by a sexy Russian double agent (Daniela Bianchi), and is tracked by a lovely assassin (Lotte Lenya) with switchblade shoes, and by a crazed killer (Robert Shaw), who clashes with Bond during the film's dazzling climax aboard the Orient Express. From Russia with Love is classic James Bond, before the gadgets, pyrotechnics and Roger Moore steered the movies away from the more realistic tone of the books by Ian Fleming. —Jeff Shannon

Robert Zemeckis If you read the label on a box of chocolates you'll know exactly what you're gonna get. Life isn't like that in Forrest Gump, however, which is one of the reasons why this movie divided appreciative audiences from hard-hearted critics like few others before it. Audiences responded to the Frank Capra-style sentimentality of this warm-hearted tale of a good ol' American boy making his way in the world without ever losing his pure and simple innocence. Critics, however, were made uneasy by the apparently reactionary subtext to the parallel lives of Forrest and his girlfriend Jenny. Her fate, contrasted with his, suggests a triumph for plain ol' American values over dangerous freethinking hippies and liberals. Whether the movie is just unadulterated sentiment or right-wing propaganda, one thing at least was acknowledged by all: that Forrest Gump displays all the craftsmanship of one of Hollywood's most inventive directors and features a central performance from an actor renowned for his total commitment to every role. Thanks to Robert Zemeckis and Tom Hanks, even the most cynical critic will find it hard not to shed at least one tear by the end of this undeniably engrossing movie. The soundtrack is great, too.

On the DVD: another good two-disc set gives fans of Gump and budding filmmakers alike plenty to enjoy. The anamorphic picture and Dolby Surround on Disc 1 do full justice to Zemeckis' vision, which is accompanied by two commentaries: one from the director, producer Steve Starkey and production designer Rick Carter, and another one from producer Wendy Finerman. Disc 2 has the usual making of documentary (30 mins), plus some neat featurettes on the production and sound design and the many special effects shots (including how they made Gary Sinise lose his legs). In addition there are some screen tests of Robin Wright and a very young Haley Joel (The Sixth Sense) Osment, plus trailers and a photo gallery. All in all this is a worthwhile package. —Mark Walker