As warming as a nice cup of tea on a cloudy day, Chicken Run is that charming singularity, a commercially successful British family movie that has near-universal appeal without compromising its inherent British pluckiness (that will be the first and last poultry-pun in this review). It invites us into the Plasticine-world of Tweedy's farm, a far-from-free-range egg factory ruled with an axe of iron by greedy Mrs. Tweedy. One intrepid chicken, Ginger (voiced by Julia Sawalha) sets her sights on breaking out the whole flock, a cast of beautifully individuated chicken characters including ditsy Babs (voiced by Jane Horrocks), matronly Bunty (Imelda Staunton) and practical-minded Mac (Lynn Ferguson). Each effort is thwarted, and Ginger repeatedly reaps a spell in the coal bunker for her troubles, prompting the first of many allusions to The Great Escape, one of several World War II films name-checked throughout. (Grown-ups will have a ball playing Spot-the-Allusion Game here. ) When an American rooster named Rocky (Mel Gibson) literally drops in from the air, the hens are set all a-flutter with excitement thinking he'll help teach them to fly away at last. But Rocky is not all he seems. Although the action sags just a fraction around the 40-minute mark, it's the set pieces that really lift this into the realm of cartoon genius: the montage of inept flying attempts, Rocky and Ginger's narrow escape from Mrs Tweedy's new pie machine (an horrific contraption of chomping steel and industrial menace) and the magnificent, soaring climax. Despite the fact British animators (such as the directors, Nick Park and Peter Lord, themselves) regularly scoop Oscars for their short films, our record in full-feature length cartoons has been scrappy at best. [+]

It took a while for Marvel Comics' X-Men to make it onto the big screen, but in retrospect they were always an obvious target for kids TV. Theirs is the classic tale of teenage alienation, given a comic book twist: when puberty hits, as their peers grow hair in funny places and discover the joys of the opposite sex, certain young people begin to manifest strange super powers. Dubbed "mutants", they find themselves with any number of abilities that set them apart from their human peers. Some can fly, some can fire force-beams from their eyes, some can read minds, some are super-strong, some sprout wings; there are as many different powers as there are mutants. However, normal humans are jealous of mutants, and mutants find themselves hunted and/or ostracised by society. In order to fight this prejudice, the heroic X-Men were brought together as teenagers by the telepathic Professor X and trained to use their powers for the good of all humanity. The animated X-Men series, which first debuted in the early 1990s, remained fairly faithful to the classic comic book series, inheriting several of the more popular characters (Wolverine, Cyclops, Rogue, Gambit, Storm, The Beast, etc) and, for the most part, leaving their personalities intact. Wolverine is still a surly little thug with a heart of gold, although his razor-sharp claws are now mainly used to slice up robots and other machines (less blood that way); Cyclops is their relatively square leader; The Beast is a bookworm, prone to literary quotations at random points in his conversation; and Gambit is the charming Cajun rogue. Unfortunately, the animation of X-Men is, quite frankly, just not up to scratch, especially when judged against the much more stylish Batman: The Animated Series, which was on television at the same time. Moreover, the pacing of X-Men is, at times, painfully slow, so the action sequences plod along at a speed that would probably bore most Pokémon addicts. [+]

"Filmed in VIDECOLOR [explosions, drum roll, music builds to a climax] and SUPERMARIONATION"! The opening sequence of Thunderbirds is itself a masterclass in Gerry Anderson's marionette hyperbole: who else would dare to make a virtue out of the fact that (a) the show is in colour and (b) it's got puppets in it? But everything about this series really is epic: Thunderbirds is action on the grandest scale, pre-dating such high-concept Hollywood vehicles as Armaggedon by 30 years and more (the acting is better, too), and fetishising gadgets in a way that even the most excessive Bond movies could never hope to rival. Unsurprisingly, it transpires that the visual effects are by Derek Meddings, whose later contributions to Bond movies like The Spy Who Loved Me and Moonraker echo his pioneering model work here. As to the characters, the clean-cut Tracey boys take second place in the audiences' affections to their cool machines-the real stars of the show-while comic relief is to be found in the charming company of Lady Penelope and her pink Rolls (number plate FAB1), driven by lugubrious chauffeur Parker, whose "Yes, milady" catch phrase resonated around school playgrounds for decades. (Spare a thought for poor old John Tracey, stuck up in space on Thunderbird 5 with only the radio for company. ) The puppet stunt-work is breathtakingly audacious, and every week's death-defying escapade is nail-bitingly choreographed in the very best tradition of disaster movies. First shown in 1964 and now digitally remastered, Thunderbirds is children's TV that still looks and sounds like big-budget Hollywood. In this pod: Episodes 17-32 on four VHS tapes in a special presentation box.

It took a while for Marvel Comics' X-Men to make it onto the big screen, but in retrospect they were always an obvious target for kids TV. Theirs is the classic tale of teenage alienation, given a comic book twist: when puberty hits, as their peers grow hair in funny places and discover the joys of the opposite sex, certain young people begin to manifest strange super powers. Dubbed "mutants", they find themselves with any number of abilities that set them apart from their human peers. Some can fly, some can fire force-beams from their eyes, some can read minds, some are super-strong, some sprout wings; there are as many different powers as there are mutants. However, normal humans are jealous of mutants, and mutants find themselves hunted and/or ostracised by society. In order to fight this prejudice, the heroic X-Men were brought together as teenagers by the telepathic Professor X and trained to use their powers for the good of all humanity. The animated X-Men series, which first debuted in the early 1990s, remained fairly faithful to the classic comic book series, inheriting several of the more popular characters (Wolverine, Cyclops, Rogue, Gambit, Storm, The Beast, etc) and, for the most part, leaving their personalities intact. Wolverine is still a surly little thug with a heart of gold, although his razor-sharp claws are now mainly used to slice up robots and other machines (less blood that way); Cyclops is their relatively square leader; The Beast is a bookworm, prone to literary quotations at random points in his conversation; and Gambit is the charming Cajun rogue. Unfortunately, the animation of X-Men is, quite frankly, just not up to scratch, especially when judged against the much more stylish Batman: The Animated Series, which was on television at the same time. Moreover, the pacing of X-Men is, at times, painfully slow, so the action sequences plod along at a speed that would probably bore most Pokémon addicts. [+]

Postman Pat celebrates his 10th anniversary with two new episodes. Postman pat and the toy soldiers / Postman Pat takes the bus. Running time 48 minutes.

Rugrats Easter has nothing to do with the Christian celebration; instead, this trio of springtime episodes focuses on Spike, the Pickles family dog, with usual zany repercussions. Beginning with "Bow Wow Wedding Vows", it seems that Spike has found true love with Fifi, a prissy pooch. Tommy misses the attention of his loyal canine until happy surprises abound for all. In another episode, "Spike the Wonder Dog", Chuckie and friends try to coerce Spike into speaking words like Oodles the Talking Poodle, of television fame. Angelica assists Spike with a few tricks of her own-until she's caught with her hand in the cookie jar, literally. While the segments are humorous and will appeal to audiences on several levels, it is disappointing that the creators shied away from retelling the biblical story of Easter with the same creative approach as other Rugrats titles. -Lynn Gibson, Amazon. com.

Disney's Recess: School's Out dipped in and out of cinemas faster than fans of the cable TV show could snap their lunch boxes shut-kind of nice for parents whose idea of grown-up detention is sitting through such fly-by-night features for children. Now that home screenings are an option, though, plan for the ages 5-and-older set to settle in for reruns. Also plan to get sucked in yourself-if the screwball plot doesn't do it, the soundtrack will. While TJ and Principal Prickly (the latter the unfortunate bearer of the "saggy butt" that becomes this movie's clunkiest running gag) bust in on a crew of fiendish would-be teachers during summer break, slices of vintage grooviness-Steppenwolf's "Born to be Wild,"Strawberry Alarm Clock's "Incense and Peppermints," and Robert Goulet's "Green Tambourine" among them-get you cheering along, whether you're 3 or 43. The reason for all the retro funkiness revolves around the chief bad guy, Phil Benedict, a one-time educational visionary and former Prickly schoolmate. Benedict was a radical school revolutionary, but his manifesto for better test scores misfired when it called for a ban on recess, a concept so barbaric it got him canned from a cushy government job. Now, undeterred in his mission to make life miserable for children, he's hatching a "switcheroo" scheme that will forever pull the shade on summer and thus summer vacation. Predictably, right at trigger time, TJ, Prickly, and the gang roar in to the rescue. It's an ending that's as pat as any on the TV show, but so what-this is a movie that aims for summer-linen lightness. Just as the Fifth Dimension promise on the soundtrack, it lets the sunshine, as well as a few well-timed chuckles, in. [+]