Legendary director Orson Welles' debut feature Citizen Kane (1941) has been massively hyped as the greatest film ever made, yet his follow-up, The Magnificent Ambersons (1942), is perhaps the finer achievement. Though the flamboyant visual style that marked Kane is still in evidence, this time it serves a subtler purpose than mere look-at-me showmanship. Adapted by Welles from Booth Tarkington's Pulitzer-Prize-winning 1917 novel, the movie chronicles the decline and fall of an elegant turn-of-the-century family amid the profound social changes signalled by the invention of the automobile. Spoiled rich-kid George Amberson Minafer (Tim Holt) grows up into a self-satisfied bully who is universally despised by the townsfolk. After jealously attempting to thwart the budding romance between his widowed mother Isabel (Dolores Costello) and car manufacturer Eugene Morgan (Joseph Cotten), he gets his much-anticipated "comeuppance". It's a brooding and poignant tale that gathers emotional force from Welles' acute observation of group dynamics. The core of the drama lies in those harrowing scenes where the family squabbles mercilessly on the staircase of their gloomy mansion-exhibiting a mutual dependency in pain that a later generation would characterise as dysfunctional. Just occasionally, the film breaks free from its claustrophobic atmosphere and opens out for some bravura cinematic spectacle: a ride across a wintry landscape in the new-fangled horseless carriage and a luxuriant ball that allows Welles' famous tracking camera plenty of exercise. If you find Ambersons a bit over-scaled for its short running time and strangely abrupt in its continuity, there's an explanation. After a disastrous preview, the RKO studio brass took the film out of the director's hands and slashed it from 131 to a mere 88 minutes. [+]

The Sopranos is more than just a suburban Godfather, it's a modern-day I, Claudius with all the consanguineous conflict of the Caesars translated to New Jersey. At the beginning of the third series-just as brilliant and compelling as the first two-the Soprano clan are under close surveillance from the FBI; but, as ever, that's the least of their problems. Anthony Jnr is getting into trouble at school, Meadow's romantic liaisons at college are a cause of friction, Carmela is having a crisis of conscience and Tony trades one dangerously neurotic mistress for another. Livia's death does nothing to help Tony's psychological problems, and his relationship with therapist Dr Melfi is increasingly strained, especially after she undergoes a shocking ordeal of her own. There's tension in Tony's other "family", too, as Christopher finally gets made but then chafes at the extra responsibility, much to Paulie's disgust. In one magnificent episode (directed by Steve Buscemi) the two become stranded in the snow-filled woods overnight where all their mutual resentment boils over even as they both freeze. But Tony's real problems emerge from the Aprile family: Jackie Jnr is becoming a dangerous loose cannon, actively encouraged by his borderline psychotic stepfather Ralphie (a marvellous Joe Pantoliano), whose erratic behaviour threatens to ignite a deadly feud ("He disrespected the Bing", says Tony after punching him). When Jackie Jnr and Meadow become an item, both of Tony's dysfunctional families collide with devastating consequences. On the DVD: The Sopranos, Series 3 arrives in a neat fold-out four-disc set, with four episodes on a double-sided first disc and three each on the remainder. The contents are an improvement on previous releases, with three separate episode commentaries, which are all informative and worthwhile: costar and sometime writer Michael Imperioli (Christopher) talks us through his own script for "The Telltale Moozadell"; Steve Buscemi appears on his directorial effort, "Pine Barrens"; and series creator David Chase chooses the penultimate episode, "Amour Fou". [+]

Franco Zeffirelli's stripped-down, two-hour version of Shakespeare's play stars Mel Gibson as a rather robust version of the ambivalent Danish prince. Gibson is much better in the part than many critics have admitted, his powers of clarity doing much to make this particular Hamlet more accessible than several other filmed versions. The supporting cast is outstanding, including Glenn Close as Gertrude, Alan Bates as Claudius, Ian Holm as Polonius, and Helena Bonham Carter as Ophelia. Zeffirelli's vigorous direction employs a lively camera style that nicely alters the viewer's preconceptions about the way Hamlet should look. -Tom Keogh.

One of a growing number of female-centred dramas, the first series of Cutting It was a sleeper hit for the BBC. Though its rival hairdresser premise seems fluffy, its classy gloss, off-beat scripting and strong cast make it as addictive as many of the outstanding TV series coming from the US. The drama unfolds when ambitious hairdresser Allie Henshall (Sarah Parish) wants to open a second salon. But her husband and business partner would prefer to start a family. Even when she puts in a bid for a property opposite her salon, Allie is beaten by rival hairdresser Mia Bevan (Amanda Holden). As a business war begins between Allie's Henshall Ferraday salon and Mia's Blade Runner, Allie has to overcome the reappearance of an old flame, Mia's husband, who is happy to rekindle his relationship with her. As the relationship histories among the characters become absurdly intertwined, it is to the cast's credit that the human dynamics of the story surpass its plot. Though there are certainly moments of parody (take Mia's yogic warm-ups with her staff each morning) and questionable twists, Cutting It gives its leading ladies some sharp and funny lines to work with and the space to do so. Both Parish and Holden run the gamut of emotions despite the seemingly clear-cut good woman / bitch divide between their characters initially. Their actions may strain the limits of credibility, but these women hold attention effortlessly. [+]

Writer Harold Pinter and director Joseph Losey always hoped to make an adaptation of Proust's A la Recherche du Temps Perdu. Their version of L. P. Hartley's novel The Go-Between offers tantalising hints as to how the Proust film might have turned out. An old man (Michael Redgrave) thinks back to a summer many years before when, as a young boy, he stayed with the aristocratic Maudsley family in their beautiful house in the Norfolk countryside. On the threshold of adolescence, intensely curious about sex, he became the go-between for Marian Maudsley (Julie Christie) and local farmer Ted Burgess (Alan Bates) as they conducted an affair behind the backs of the Maudsley family. This is a slow-moving but beguiling story of lost innocence. There's a subtlety and intelligence here rarely found in British costume dramas. The filmmakers go to enormous lengths to recreate Edwardian England, but never allow the period detail to stifle the storytelling. Although life with the Maudsleys seems idyllic-an endless round of picnics, cricket matches and parties-there is always an undercurrent of violence. [+]

The Courier is a gripping action thriller set in contemporary Dublin, with a dramatic score by Declan McManus (A. K. A. Elvis Costello)and a soundtrack that includes U2 and Aslan. In the mean streets of Dublin, drugs dealer Val is cock of the walk - vicious and vain, but smart enough to stymie the efforts of Police Detective McGuigan to entrap him.

Video Collection Movie Classics

The Salem witch hunts are given a new and nasty perspective when a vengeful teenage girl uses superstition and repression to her advantage, creating a killing machine that becomes a force unto itself. Pulsating with seductive energy, this provocative drama is as visually arresting as it is intellectually engrossing. Arthur Miller based his classic 1953 play on the actual Salem witch trials of 1692, creating what has since become a durable fixture of school drama courses. It may look like a historical drama but Miller also meant the work as a parable for the misery created by the McCarthy anti-Communist hearings of the 1950s. This searing version of his drama delves into matters of conscience with concise accuracy and emotional honesty. Three passionate cheers for Miller, director Nicholas Hytner and costars Daniel Day-Lewis and Winona Ryder. -Rochelle O'Gorman.

In 1983, the BBC made this 261-minute mini-series from Jane Austen's novel Mansfield Park. Austen explores the well-trodden theme of class distinction and the triumph of love, but Fanny Price (Sylvestra Le Touzel) is an original Austen creation. Fanny, from a large and poor family, is taken into the home of her wealthy uncle and aunt, the stoic Sir Thomas Bertram (Bernard Hepton) and the childlike Lady Bertram (Angela Pleasence, daughter of actor Donald). Also residing at the posh Bertram mansion are the oldest son, irresponsible Tom (Christopher Villiers), distant Julia (Liz Crowther) and the kindly Edmund (Nicholas Farrell). If you can get past Le Touzel's odd mannerism of making little chopping movements with her open-palmed hand for emphasis, this is a faithful adaptation of the novel. It's much slower than Northanger Abbey and lacks some of the passionate drama of Pride and Prejudice and Sense and Sensibility, but it still depicts a strong yet very kind heroine who stands up for what she believes in. When popular philanderer Henry Crawford (Robert Burbage) actually falls for and proposes to Fanny, she rejects him, much to the surprise and disdain of the Bertrams-except, of course, for our hero Edmund. For trivia buffs: Jonny Lee Miller, who plays young Charles Price (one of Fanny's brothers), has the role of Edmund Bertram in the 1999 theatrical version of Mansfield Park. -N. F. [+]

While Captain Corelli's Mandolin may frustrate admirers of Louis de Bernières' densely detailed novel, it proves Shakespeare in Love director John Madden is a worthy craftsman of literary films. It's a tastefully old-fashioned adaptation, preserving the novel's flavour while focusing on its love story set against the turbulence of World War II. Set on the Greek island of Cephallonia, the drama begins in 1940 with occupation by Italian troops, awkwardly allied with the Nazis and preferring hedonistic friendliness over military intimidation. That attitude is most generously embodied by Captain Corelli (Nicolas Cage), who is instantly drawn to the Greek beauty Pelagia (Penélope Cruz) despite her engagement to Mandras (Christian Bale), a resistance fighter whose absence leaves Pelagia needy for affection. Mandras's eventual return-and the inevitable attack by German bombers and ground troops-threaten to stain this Greek-Italian romance with deeply tragic bloodshed. Accompanied by pensive serenades from the captain's cherished mandolin, the film charts the unlikely attraction of Corelli and Pelagia, whose wizened physician father (splendidly played by John Hurt) fears for the worst. Their love is uneasy (and Cage's miscasting doesn't help), but the island's beguiling atmosphere is as seductive to them as it is to the viewer, thus making the outbreak of violence-and a climactic earthquake-jarringly traumatic. Emphasising nobility in war and the many definitions of love, the story's wartime context intensifies the film's admirable depth of emotion. Faults will be found by anyone who's looking for them, but Captain Corelli's Mandolin remains a sensuous, richly layered film that die-hard romantics will find hard to resist. -Jeff Shannon, Amazon. [+]