Ending the most popular film epic in history, Star Wars: Episode III, Revenge of the Sith is an exciting, uneven, but ultimately satisfying journey. Picking up the action from Episode II, Attack of the Clones as well as the animated Clone Wars series, Jedi Master Obi-Wan Kenobi (Ewan McGregor) and his apprentice, Anakin Skywalker (Hayden Christensen), pursue General Grievous into space after the droid has kidnapped Supreme Chancellor Palpatine (Ian McDiarmid). It's just the latest manoeuvre in the on-going Clone Wars between the Republic and the Separatist forces led by former Jedi turned Sith Lord Count Dooku (Christopher Lee). On another front, Master Yoda (voiced by Frank Oz) leads the Republic's clone troops against a droid attack on the Wookiee homeworld of Kashyyyk. All this is in the first half of Episode III, which feels a lot like Episodes I and II. That means spectacular scenery, dazzling dogfights in space, a new fearsome villain (the CGI-created Grievous can't match up to either Darth Maul or the original Darth Vader, though), lightsaber duels, groan-worthy romantic dialogue, goofy humor (but at least it's left to the droids instead of Jar-Jar Binks), and hordes of faceless clone troopers fighting hordes of faceless battle droids. But then it all changes. After setting up characters and situations for the first two and a half movies, Episode III finally comes to life. The Sith Lord in hiding unleashes his long-simmering plot to take over the Republic, and an integral part of that plan is to turn Anakin away from the Jedi and toward the Dark Side of the Force. Unless you've been living under a rock the last 10 years, you know that Anakin will transform into the dreaded Darth Vader and face an ultimate showdown with his mentor, but that doesn't matter. [+]

John Wayne recovered from his first bout of cancer to appear in 1965's The Sons of Katie Elder as the brother of Dean Martin, Earl Holliman and Michael Anderson Jr. All four characters are wandering souls prone to trouble, but after the funeral of their frontier mother, they set out to avenge her death. Directed by Henry Hathaway (Wayne's director on True Grit), the film moves like a conventional, latter-day Western, with good performances from Wayne and Martin, who'd already costarred with the Duke in Howard Hawks' Rio Bravo. There's also nice support from Dennis Hopper (who had a legendary conflict with Hathaway on this film), Strother Martin and George Kennedy. -Tom Keogh.

An inspiring drama directed by the great John Ford (Stagecoach, The Searchers) starring Tyrone Power (The Mark Of Zorro, The Razor's Edge) as Marty Maher, a humble Irish man from a poor background who joins the US Army to make a career for himself. after a difficult beginning he attains the rank of cadet instructor at famed West Point Military Academy. Co-starring Maureen O'Hara (The Quiet Man, Only The Lonely), this is superb, and little known or seen, military drama.

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.

A grandly entertaining, old-fashioned adventure based on the Rudyard Kipling short story, The Man Who Would Be King is the kind of rousing epic about which people said, even in 1975, "Wow! They don't make 'em like that anymore". When director John Huston first started trying to make the film, with Gable and Bogart, the project was derailed by the latter's death. It was a few decades before Huston was finally able to realise his dream movie-and with an unimprovable cast. Sean Connery and Michael Caine are, respectively, Daniel Dravot and Peachy Carnahan, a pair of lovably roguish British soldiers who set out to make their fortunes by conning the priests of remote Kafiristan into making them kings. It's a rollicking tale, an epic satire of imperialism, and the good-natured repartee shared by Caine and Connery is pure gold. Huston lets the humour emerge naturally from the characters, for whom we wind up caring more deeply than we ever expected. -Jim Emerson.

The most densely plotted instalment of the saga so far, Attack of the Clones is a tale of both Machiavellian political drama and doomed romance; it's epic war film and silly comic-book fantasy combined, as teenage Anakin Skywalker (Hayden Christensen) chafes at the restrictions imposed by his mentor Obi-Wan Kenobi (Ewan McGregor) and falls in love with Padme Amidala (Natalie Portman). Renegade Jedi Count Dooku (Christopher Lee) is leading a breakaway federation of disgruntled systems; while the insidious influence of Darth Sidious is felt rather than seen as his invisible hand guides apparently unrelated events, from Jar Jar's unwitting instigation of a disastrous Senate decision to bounty hunter Jango Fett's revelatory role at the centre of the conspiracy. Along the way the story has fun with the conventions of Chandleresque detective fiction as Obi-Wan explores the seedier side of Coruscant, and incorporates the noble warrior ethos of Crouching Tiger, Hidden Dragon in its portrayal of the Jedi order. The portentous tone is lightened by tongue-in-cheek self-referential dialogue and the antics of robotic clowns R2D2 and C3PO. (One niggle for music fans, though, is the cavalier cut-and-paste approach to John Williams's music score. ) Like the Empire Strikes Back, Clones is the bridging film of the trilogy and thus ends on an equivocally bittersweet note. On the DVD: Attack of the Clones is an all-digital film, and so looks suitably superb in this anamorphic widescreen transfer, accompanied by a THX encoded Dolby 5. 1 soundtrack. Anyone who owns The Phantom Menace two-disc set will know what to expect from the special features: here's another group commentary led by George Lucas, two lengthy documentaries on the digital effects ("From Puppets to Pixels" and "The Previsualisation of Episode II") plus several other featurettes and Web documentaries, notably "Films Are Not Released, They Escape", a look at the sound design. There's also a fun trailer for the R2-D2 mockumentary "Beneath the Dome", trailers, photo galleries and more to satisfy any Star Wars fan. [+]

As with George Lucas' other movie franchise, there's a vein of mysticism running through Indiana Jones' big-screen adventures. Watching the trilogy back to back in this box set it's possible to unravel the chronology and chart the spiritual journey of our hero: the idealistic Young Indy ("It belongs in a museum", implores River Phoenix in the opening escapade of The Last Crusade) grows up to become a cynical fortune-hunter seen trading archaeological treasures with Chinese gangsters at club "Obi-Wan" in The Temple of Doom. From there we follow his path to redemption via three mystical religious objects: respectively Hindu (the Shankara stones in Temple of Doom), Jewish (the Ark of the Covenant in Raiders), and Christian (the Holy Grail itself in Last Crusade). But that's just the subtext. Along the way, this knight-errant archaeologist undertakes improbable adventures (featuring spiders, snakes, rats, insects and Nazis galore), rescues damsels in distress (even when they don't want to be rescued, like Kate Capshaw in Temple of Doom) and still finds time to bond with his dad (Sean Connery, in one of cinema's great cameo roles as Dr Jones Sr. ). Steven Spielberg revels in Lucas' recreation of 1930s cliffhanger serials, infusing every scene with kinetic energy and infectious enthusiasm, and creating any number of iconic sequences that have become touchstones of cinematic history (the opening of Raiders has been parodied innumerable times in everything from chocolate commercials to The Simpsons). Director and producer are more than ably assisted by regular composer John Williams, whose swashbuckling Korngold-inspired "Raiders" theme casts Harrison Ford as a modern-day Errol Flynn. Although a fourth movie has long been promised, this trilogy plays like a self-contained whole that leaves nothing wanting: from the witty dialogue and breathtaking action choreography to the near-perfect casting and lovingly detailed period production design, this is popular movie-making at its very peak. -Mark Walker.