Robin Williams stars as an English teacher who doesn't fit into the conservative prep school where he teaches but his charisma and love of poetry inspires several boys to revive a secret society with a bohemian bent. The script is well-meaning but a little trite, though director Peter Weir (The Truman Show) adds layers of emotional depth in scenes of conflict between the kids and adults. (A subplot involving one father's terrible pressure on his son-played by Robert Sean Leonard-to drop his interest in the theatre reaches heartbreaking proportions). Williams is given plenty of latitude to work in his brand of improvisational humour, though it is all well-woven into his character's style of instruction. -Tom Keogh Peter Weir's entry in the "coming of age" teen movie genre, Dead Poets' Society is a more than usually emotive tale of one teacher and the students he inspires. Robin Williams plays the radical English teacher in a stuffy New England prep school who tries to make a difference. His unconventional methods and love of poetry make him a hit with the repressed teens under his tutelage, and they in turn form a secret society for the pursuit of freedom, truth, beauty and other bohemian ideals. Much soul-searching ensues, not least from the doe-eyed Neil (Robert Sean Leonard) whose sensitive aspirations to pursue a career in the theatre are scuppered by his prosaic father with tragic consequences. True, the script is clichéd at times and the battle between adults and teens is hackneyed, but no one can deny the emotional power of the "Captain My Captain" scene, where the class defiantly stand on their desks, or the moment when Williams inspires his class with the motto "Carpe Diem". Indeed it is the relationship between Williams and his pupils that enables Weir to raise the film above what could have been over-sentimental slosh, with Williams' trademark improvised monologues injecting humanity (even in a relatively serious role) into the central character. [+]

Dirty Dancing was a cultural phenomenon that now plays more like camp. That very campness, though, is part of its biggest charm. And if the dancing in the movie doesn't seem particularly "dirty" by today's standards-or 1987's-it does take place in an era (the early 60s) when it would have. Dirty Dancing spawned two successful soundtracks, a short-lived TV series and a stage musical. It may be predictable, but Grey and Swayze have chemistry, charisma and all the right moves. -Kathy Fennessy, Amazon. comFirst and foremost Cocktail is a star vehicle for Tom Cruise, then a paper-thin Horatio Alger story of a young bartender with dreams of get-rich-quick. Success is notable only for Cruise's immense likeability in contrast to a creaky plot and thinly drawn characters. Despite its shortcomings, this is worthwhile viewing for Tom Cruise fans. -Robert Lane, Amazon. [+]

Based on the series of novels written by Dorothy L Sayers in the 1920s and 30s, Lord Peter Wimsey was dramatised for TV by the BBC between 1972-5. Ian Carmichael, veteran of British film comedy, played the genial, aristocratic sleuth; Glyn Houston was his manservant Bunter. The pair are similar to PG Wodehouse's Jeeves and Bertie Wooster (whom Carmichael played in an earlier TV adaptation) though here the duo are equal in intelligence, breezing about the country together in Wimsey's Bentley and stumbling with morbid regularity upon baffling murder mysteries to test their wits. Those for whom this series forms hazy memories of childhood might be surprised at its somewhat stagy, lingering interior shots, the spartan paucity of music, the miserly attitude towards locations, especially foreign ones, and the rather genteel, leisurely pace of these programmes, besides which Inspector Morse seems like Quentin Tarantino in comparison. It seems that initially the BBC was reluctant to commission the series and ventured on production with a wary eye on the budget. The Britain depicted by Sayers is, by and large, populated by either the upper classes or heavily accented, rum-do-and-no-mistake lower orders, which some might find consoling. However, the acting is generally excellent and the murder mysteries are sophisticated parlour games, the televisual equivalent of a good, absorbing jigsaw puzzle. There were five feature-length adaptations in all. "Five Red Herrings" is the last and perhaps the least of the series, involving a trout fishing holiday interrupted by the death of a local artist. -David Stubbs.

"I try very hard never to distort or dissemble," says Mr. Neville (Anthony Higgins), a draughtsman of considerable talent contracted by a certain Mrs Herbert (Janet Suzman) to make 12 drawings for her absent husband of their English estate. Part of that contract involves Mr Neville taking his pleasure with Mrs Herbert. While Mr Neville aims for fidelity in his drawings, infidelity in private is quite another matter. The film becomes a cerebral puzzle when objects start appearing mysteriously in the subjects of Mr Neville's various drawings: a ladder that wasn't there before, a pair of boots standing in a field. Mr Neville's penchant for realism is stymied by these clues, which may or may not suggest the murder of Mr Herbert. Peter Greenaway seems to have directed this, his first art-house success, with the aim of exploring the failings of perspective in art and casting his doubtful eye on the possibility of "faithful" drawings such as those by which Mr. Neville makes his living. Greenaway was, after all, an art student, and must have known that drawing machines like the one Mr Neville uses in the film (which is set in 1694) led not only to the invention of photography, and therefore of film itself, but also to the renouncing of perspective that informs so much of 20th-century painting. In the film, Greenaway overlays the story's mysterious elements with highly mannered tableaux, shooting each scene like a realistic, though sumptuous, painting, while his actors spout witty and complicated sentences, suggesting the falseness of surfaces. [+]

British films about sex are fairly rare, and mostly embarrassing: from the painfully anxious (Brief Encounter) to the hopelessly naff (the Carry On films). What a treat then is Rita, Sue and Bob Too, Alan Clarke's filming of a stage play by young Andrea Dunbar. It's an unsentimental, gleefully lewd comedy about shagging. Tagged for its cinema release in 1987 as "Thatcher's Britain with its knickers down", it even provoked a minor moral hullabaloo in the newspapers. Rita (Siobhan Finneran) and Sue (Michelle Holmes) are two giggly Bradford lasses stuck on a ramshackle housing estate. They keep themselves in fags by occasional baby-sitting for nouveau riche couple Bob (George Costigan) and Michelle (Lesley Sharp). Bob fancies himself rotten, but Michelle has ruled that sex is off the menu. So one night, driving Rita and Sue home, Bob detours to the Yorkshire moors and offers the girls a little something extra in his front seat. Rita and Sue decide to grab it while they can. Alan Clarke's cult following is founded on his bleak, brilliant films about violent young men (Scum, The Firm, Made in Britain). [+]

Based on the series of novels written by Dorothy L Sayers in the 1920s and 30s, Lord Peter Wimsey was dramatised for TV by the BBC between 1972-5. Ian Carmichael, veteran of British film comedy, played the genial, aristocratic sleuth; Glyn Houston was his manservant Bunter. The pair are similar to PG Wodehouse's Jeeves and Bertie Wooster (whom Carmichael played in an earlier TV adaptation) though here the duo are equal in intelligence, breezing about the country together in Wimsey's Bentley and stumbling with morbid regularity upon baffling murder mysteries to test their wits. Those for whom this series forms hazy memories of childhood might be surprised at its somewhat stagy, lingering interior shots, the spartan paucity of music, the miserly attitude towards locations, especially foreign ones, and the rather genteel, leisurely pace of these programmes, besides which Inspector Morse seems like Quentin Tarantino in comparison. It seems that initially the BBC was reluctant to commission the series and ventured on production with a wary eye on the budget. The Britain depicted by Sayers is, by and large, populated by either the upper classes or heavily accented, rum-do-and-no-mistake lower orders, which some might find consoling. However, the acting is generally excellent and the murder mysteries are sophisticated parlour games, the televisual equivalent of a good, absorbing jigsaw puzzle. There were five feature-length adaptations in all. "Murder Must Advertise", perhaps the most entertaining of the series, has Wimsey step out of his upper-class milieu and pose as a copywriter in order to solve a murder at Pym's Publicity. -David Stubbs.

The panorama of 20th-century Chinese history swirls past two men, celebrated actors with their own decidedly specialised view of things. We first observe their lives as children at the Peking Opera training school, a brutal and demanding arena for future actors. While still in training, the effeminate Douzi is chosen to play the transvestite role and the masculine Shitou is chosen to play the royal role in a ritualised play about a king and a concubine. The actors are so good at this performance that they become identified with these roles for their entire careers; through World War II, through the takeover by the Communists, through the insanity of the Cultural Revolution, they are known for their famous parts. Leslie Cheung and Zhang Fengyi are powerful as the two men, and Gong Li (the beautiful leading lady of Raise the Red Lantern) plays the wife of the latter. The movie may be stronger on good old-fashioned melodrama than on profound conclusions, but boy, does it fill up the eyes. The director is Chen Kaige, one of the most talented members of China's "Fifth Generation" of filmmakers, whose daring subject matter (and sometimes bald international ambitions) have often irked the Chinese government. Indeed, though Farewell My Concubine shared the top prize at the 1993 Cannes Film Festival and snagged two Oscar nominations, it had difficulty gaining official approval from China. -Robert Horton, Amazon. com.

Dear Murderer is a gripping thriller with an unusual theme. Lee Warren, a successful businessman, returns to London from a visit to America suspicious that his wife, the beautiful and witty Vivien, has been unfaithful. At his Hyde Park apartment he discovers a note addressed to Vivien confirming his suspicion and begins to plan the "perfect crime" in his lust for revenge. One of his victims, the barrister Richard Fenton, is murdered with such ghastly efficiency that all the clues point to a case of suicide. When Lee later finds that his wife has another lover, he hastily rearranges the scene of the murder so that the young architect Jimmy Martin is believed to be guilty of the crime. However, in spite of all his carefully laid plans Lee underestimates the tenacity of the Scotland Yard investigators, the extent of his wife's infidelity and the ultimate betrayal by his own conscience.