CIC Home Movie. Clift is excellent as the ambitious young man who callously murders a working class girl he is involved with so that he can pursue a wealthy heiress. Based on the novel, An American Tragedy by Theodore Dreiser.

Classic 60's romantic comedy featuring 2 great Hollywood stars (William Holden & Audrey Hepburn), fabulous location photography in Paris, (by famed cinematogrpher Claude Renoir) + star cameos from the likes of Marlene Dietrich & Noel Coward. The story revolves around william Holden as a screenwriter with a script deadline of 3 days. He asks secretary Audrey Hepburn to concoct ideas, which she happily acts out, the plots getting ever more increasingly preposterous.

Beautifully adapted version of the Alcott classic!

Absorbing drama about a travelling salesman (Edmond O'Brien,-White Heat, The Wild Bunch) who has two wives, Eve (Joan Fontaine,-Rebecca, Jane Eyre) & Phyllis (Ida Lupino,-The Big Knife, Junior Bonner). The film shows just how such a decent and upright man could commit so unusual a crime. Directed by co-star Ida Lupino, this is a thoughtful film about a difficult subject, and as such was a brave film to make when you consider the normal studio output of the time.

If Buffy the Vampire Slayer represents the lighter side of high school as a macabre experience, here's a movie that asks the burning question, "What happens when angst-ridden teenagers develop supernatural powers?" More to the point, how do four outcast teenaged witches handle their ability to cast wicked spells on the taunting classmates who've nicknamed them "The Bitches of Eastwick"? The answer, of course, is "don't get mad, get even. " That's about all there is to this terminally silly movie, which makes up for its ludicrous plot by letting its young female cast have a field day as they indulge their dark fantasies. Fairuza Balk is enjoyable as the most wicked of the witches, and is therefore the focus of the film's most dazzling special effects. But it's Neve Campbell from television's Party of Five who made The Craft a modest box-office hit, just before she became her generation's fright-movie favourite in Scream and its popular sequel. -Jeff Shannon If Buffy the Vampire Slayer represents the lighter side of high school as a macabre experience, here's a movie that asks the burning question, "What happens when angst-ridden teenagers develop supernatural powers?" More to the point, how do four outcast teenaged witches handle their ability to cast wicked spells on the taunting classmates who've nicknamed them "The Bitches of Eastwick"? The answer, of course, is "don't get mad, get even. " That's about all there is to this terminally silly movie, which makes up for its ludicrous plot by letting its young female cast have a field day as they indulge their dark fantasies. Fairuza Balk is enjoyable as the most wicked of the witches, and is therefore the focus of the film's most dazzling special effects. But it's Neve Campbell from television's Party of Five who made this film a modest box-office hit, just before she became her generation's fright-movie favorite in Scream and its popular sequel. -Jeff Shannon.

MGM/UA Home Video

Warner Home Video. Terrific comedy with its two major stars playing off each other perfectly.

Like the Tin Man's heart, the true test of a real classic is how much it is loved by others. The enduring charms of The Wizard of Oz have easily weathered the vicissitudes of changing fashions making the film one of the world's best-loved, most-quoted and frequently imitated movies. It's now as ubiquitous an American pop-cultural icon as McDonald's, making judging the movie purely on its own merits an almost impossible task. Judy Garland's tragic later life, for example, makes her naïve and utterly beguiling Dorothy seem all the more poignant in retrospect. But this at least is clear: much of this movie's success depends on the winning appeal of Garland's "Everygirl" figure, who creates the vital identification and empathy necessary to carry the audience with her into the land of Oz. We always care deeply about Dorothy, her quest for home and the strength of her friendship with her companions. Garland's assured dancing and singing routines with her ideally cast Broadway comedy co-stars Ray Bolger, Bert Lahr and Jack Haley are still endlessly delightful, of course, and the songs and score (by Arlen, Harburg and Stothart) are as good as anything in the Hollywood musical canon. It is Garland's deeply felt rendition of "Over the Rainbow" that is both the film's emotional core and the reason why adults as much as children the world over still respond so strongly to this movie. So long as people long for home and the love of their friends and family, the nostalgic appeal of Oz will never fade. On the DVD: another splendid digital restoration from the MGM vaults keeps this wonderful classic as vivid and alive as it was back in 1939, if not more so. [+]

Very famous Greta Garbo historical epic, which many critics in fact regard as featuring her greatest ever performance. She plays Christina, the 17th Century Queen of Sweden who famously shocked all of Europe when she relinquished her throne for love. Co-starring John gilbert, her favourite co-star both on and off-screen, this is a fascinating blend of historical accuracy and pure fiction, as it details the Queen and her lover, Don Antonio clandestine love affair. Gorgeously photographed, and beautifully directed this is still a classic film, and as for Garbo, well a superb example of one Hollywoods true screen goddesses at the height of her fame.

Let's Make Love is a curious picture in many ways: Marilyn Monroe was the superstar, Yves Montand new to Hollywood, but she seems peripheral to the action and he's in almost every scene. Meanwhile director George Cukor, always happy with theatrical material, can't make the off-off-Broadway milieu come to believable life. In short, Let's Make Love lacks the sparkle promised by its talent roster, and for Monroe especially the bloom is off the rose. This 1960 film was her next to last, and she appears weary, although isolated moments have the old oomph (and she has a terrific romp through her first number, Cole Porter's "My Heart Belongs to Daddy"). Cameos by Milton Berle, Bing Crosby, and Gene Kelly increase the time-capsule feeling. The biggest failing is the lack of chemistry between Monroe and Montand, yet off-screen they had a romance during filming. A curious picture indeed. -Robert Horton, Amazon. com.

24 of her best songs before a live audience.

Western

Magna Hollywood Classic Comedy. One of the best in this famous series with good songs from Judy Garland.

Highlights of this brilliant documentary film must include Deitrich's opinions of directors she worked with. For example Orson Welles was a genius (`Cross yourself before you mention his name'!) She appeared in `Touch of Evil' without a fee when Welles couldn't raise finance. Von Sternberg always made things difficult for her so that she would use her brain and learn something whereas Fritz Lang was a `monster' who had her marks chalked on the floor when she arrived on set but his stride was much longer than hers. Then there's the controversy of Billy Wilder denying Marlene an Oscar opportunity for her superb performance in `Witness for the Prosecution'.