This serious-minded but flawed effort at bringing James Jones's later World War II novel to the screen might have languished in film vaults had reclusive director Terence Malick not resurfaced with a newer version, the likely spur to this video release. This first attempt, lensed in 1964, offers glimpses of what may have attracted Malick to the project. Jones's story focuses on two American soldiers during the Guadalcanal campaign, the newlywed draftee Private Doll (Keir Dullea) and Sergeant Welch (Jack Warden), the hardened veteran. Doll is determined to survive whatever the cost, disobeying orders if it will improve his chances; Welch is dutiful yet calculating, resorting to deliberate acts of madness to toughen up his troops by showing them war's own absurdity by example. The clash between the private and the sergeant thus becomes the core to the film, focusing on the "thin red line" between sanity and insanity and depicting how that line blurs for both protagonists. As directed by veteran Andrew Marton (55 Days in Peking), The Thin Red Line is at its best during sweeping battle sequences capturing the gritty horror of hand-to-hand combat, as the Americans try to take an impregnable wall of caves held by the Japanese enemy. Less successful are portentous scenes and dialogue that underscore this evident parable with a heavy hand; there's a self-conscious art film spin that misfires. The original black-and-white Cinemascope negative shows wear and tear, and early copies betray serious problems in their optical transfers. -Sam Sutherland.

After seeing Saving Private Ryan, this epic tale about the Normandy invasion will look sanitised. But in The Longest Day's re-creation of events leading to the epochal battle, the film is captivating and grand, and the parade of famous actors who cross the screen naturally give the already charged action even more of a boost. Three directors worked on it: Ken Annakin (Battle of the Bulge), Andrew Marton (Crack in the World) and Bernhard Wicki (this film being his only credit). -Tom Keogh The Longest Day is Hollywood's definitive D-day movie. More modern accounts such as Saving Private Ryan are more vividly realistic, but producer Darryl F Zanuck's epic 1962 account is the only one to attempt the daunting task of covering that fateful day from all perspectives. From the German high command and front-line officers to the French Resistance and all the key Allied participants, the screenplay by Cornelius Ryan, based on his own authoritative book, is as factually accurate as possible. The endless parade of stars (John Wayne, Henry Fonda, Robert Mitchum, Sean Connery, and Richard Burton, to name a few) makes for an uneasy mix of verisimilitude and Hollywood star-power, however, and the film falls a little flat for too much of its three-hour running time. But the set-piece battles are still spectacular, and if the landings on Omaha Beach lack the graphic gore of Private Ryan they nonetheless show the sheer scale and audacity of the invasion. -Mark Walker.

Roger Moore's last outing as James Bond is evidence enough that it was time to pass the torch to another actor. Beset by crummy action (an out-of-control fire engine?) and featuring a fading Moore still trying to prop up his mannered idea of style, the Film is largely interesting for Christopher Walken's quirky performance as a sort-of supervillain who wants to take out California's Silicon Valley. Grace Jones has a spookily interesting presence as a lethal associate of Walken's (in the best Bond tradition, she has sex with 007 before trying to kill him later) and Patrick Macnee (Steed!) has a warm if brief bit. Even directed by John Glen, who brought some crackle to the Moore years in the Bond franchise, A View to a Kill is a very slight effort. -Tom Keogh A View to a Kill, Roger Moore's last outing as James Bond, is evidence enough that it was time to pass the torch to another actor. Beset by crummy action (an out-of-control fire engine?) and featuring a fading Moore still trying to prop up his mannered idea of style, A View to a Kill is largely interesting for Christopher Walken's quirky performance as a sort-of super-villain who wants to take out California's Silicon Valley. Grace Jones has a spookily interesting presence as a lethal associate of Walken's (and who, in the best Bond tradition, has sex with 007 before trying to kill him later), and Patrick Macnee (Steed!) has a warm if brief bit. Even directed by John Glen, who brought some crackle to the Moore years in the Bond franchise, this is a very slight effort. -Tom Keogh, Amazon. com On the DVD: For Roger Moore's final Bond outing the production crew faced the usual quota of difficulties and disasters, the "making-of" documentary reveals: from base jumpers off the Eiffel tower whose antics threatened to jeopardise fragile relations with the Parisian authorities, to Ridley Scott thoughtlessly burning down the 007 at Pinewood right before production was due to start. [+]

A loose (very loose) Japanese TV adaptation of Wu Ch'eng-en's 16th-century collection of Chinese fables, Monkey! was re-dubbed into English in the early 1980s and became required viewing for a whole generation of schoolchildren. The titular monkey (played with great enthusiasm, not to mention athleticism by Japanese comic actor and former rock star Masaaki Sakai) accompanies boy-monk Tripitaka (confusingly, a pretty actress called Masako Natsume) on his/her quest for the Indian Sutras. They pick up Sandy (Shiro Kishibe), Pigsy (Toshiyuki Nishida) and a dragon that becomes a horse along the way. The appeal of Monkey! is easier to experience than explain. It's an occasionally surreal blend of Oriental fable, knockabout martial arts, pop Buddhism and slapstick comedy. The frequent comic fight scenes are accompanied by a 70s disco-fusion soundtrack, and a narrator (English voice: Frank Duncan) uses gaps in the action to deliver inscrutable snippets of wisdom ("Even a starving camel is still bigger than a horse", "Does love mean labour even for the carp-hearted?"). Best of all, though, is the dialogue: without regard to any lip-synch niceties the English script (by David Weir) is full of idiomatic delights, jokes and double entendres ("I can use it as well", boasts Monkey of his staff that grows from a tiny stick into a big pole. "Ooh, I never doubted it passionate primate", purrs the Dragon Princess into his ear, "go on, make it bigger"). All are delivered by British actors in hilariously cod-Japanese accents (distinguished thesp Miriam Margolyes is the voice of Tripitaka). Bad special effects crown the show's cheesy, retro appeal. [+]

In Tokyo Drifter director Seijun Suzuki transforms the yakuza genre into a pop-art James Bond cartoon as directed by Jean-Luc Godard. The near-incomprehensible plot is negligible: hitman "Phoenix" Tetsu (Tetsuya Watari), a cool killer in dark shades who whistles his own theme song, discovers his own mob has betrayed his code of ethics and hits the road like a questing warrior, with not one but two mobs hot on his trail. In a world of shifting loyalties Tetsu is the last honourable man, a character who might have stepped out of a Jean-Pierre Melville film and into the delirious, colour-soaked landscape of this Vincent Minnelli musical-turned-gangster war zone. The twisting narrative takes Tetsu from deliriously gaudy nightclubs, where killers hide behind every pillar, to the beautiful snowy plains of northern Japan and back again, leaving a trail of corpses in his wake. Suzuki opens the widescreen production in stark, high-contrast black and white with isolated eruptions of colour which finally explode in a screen glowing with oversaturated hues, like a comic book come to life. His extreme stylisation, jarring narrative leaps and wild plot devices combine to create pulp fiction on acid, equal parts gangster parody and post-modern deconstruction. Mere description cannot capture the visceral effect of Suzuki's surreal cinematic fireworks. -Sean Axmaker, Amazon. com.