Even when it misses a dramatic opportunity in favour of generic action, Set It Off benefits from a sharp understanding of its well-drawn central characters. They are a quartet of young African American women in Los Angeles (Jada Pinkett, Queen Latifah, Vivica A. Fox, Kimberly Elise), all struggling against a system that seems designed to prevent them from realising their dreams. The movie establishes their plight with credible attention to emotional detail, making their decision to rob banks believable enough to give the ensuing plot its inevitably tragic momentum. Co-written by the screenwriter of What's Love Got to Do With It?, the film conveys genuine compassion for its characters, and the ensemble cast is uniformly strong-especially Queen Latifah as a brash lesbian whose fate is as certain as her forceful attitude. Set It Off expresses a real sense that these women have been close friends for years, and that gives the film additional impact, even when their transition to crime and violence feels somewhat forced and superficial. A romantic subplot involving Pinkett and a social-climbing banker (Blair Underwood) is too contrived to be convincing, and director F. Gary Gray (Friday) tries too hard to combine hard-hitting action with social relevance (a weakness shared by Gray's following film, The Negotiator). Still, Set It Off effectively avoids passing judgement; its emotional complexity transcends simple notions of right and wrong, injecting vitality-and a kind of renegade integrity-into the traditions of a familiar plot. -Jeff Shannon.

Foursquare in the gritty-but-hearwarming tradition of Brassed Off and The Full Monty comes Billy Elliot, the first film of noted British theatrical director Stephen Daldry. The setting is County Durham in 1984, and things 'oop North are even grimmer than usual: the miners' strike is in full rancorous swing and 11-year-old Billy's dad and older brother, miners both, are staunch on the picket lines. Billy's got problems of his own. His dad's scraped together the fees to send him to boxing lessons, but Billy's discovered a different aptitude: a genius for ballet dancing. Since admitting to such an activity is tantamount, in this fiercely macho culture, to holding up a sign reading "I AM A RAVING POOF", Billy keeps it quiet. But his teacher, Mrs Wilkinson (Julie Walters, wearily undaunted) thinks he should audition for ballet school in London. Family ructions are inevitable. Daldry's film sidesteps some of the politics, both sexual and otherwise, but scores with its laconic dialogue (credit to screenwriter Lee Hall) and a cracking performance from newcomer Jamie Bell as Billy. His powerhouse dance routines, more Gene Kelly than Nureyev, carry an irresistible sense of exhilaration and self-discovery. Among a flawless supporting cast Stuart Wells stands out as Billy's sweet gay friend Michael. [+]

Now you can achieve multiple viewings of the best Sex on TV. Winner of Golden Globes for Best TV Series and Best Actress, Sex and the City is based on Candace Bushnell's provocative bestseller. Sarah Jessica Parker stars as Carrie Bradshaw, a self-described "sexual anthropologist", who writes "Sex and the City", a newspaper column that chronicles the state of sexual affairs of Manhattanites in this "age of un-innocence". Her "posse", including nice girl Charlotte (Kristin Davis), hard-edged Miranda (Cynthia Nixon) and sultry party girl Samantha (Kim Cattrall)-not to mention her own tumultuous love life-give Carrie plenty of column fodder. Over the course of the first season's 12 episodes, the most prominent dramatic arc concerns Carrie, who goes from turning the tables on "toxic bachelors" by having "sex like a man" to wanting to join the ranks of "the monogamists" with the elusive Mr Big (Chris Noth). Meanwhile, Miranda, Cynthia, and Samantha have their own dating woes. Seinfeld has nothing on Sex and the City when it comes to shallow, self-absorbed characters or coining catch phrases. Episode Two, for example, introduces the term "modeliser": a guy who is obsessed with and will only date models. Some may accuse this series of male-bashing but women, after years of enduring shows with "men behaving badly", will relish this new equality. Some may blanche at the ladies' graphic language and ribald humour, or dismiss some of the situations as unrealistic (Carrie doesn't bat an eyelid when she discovers that an artist friend surreptitiously videotapes his sexual conquests). [+]

A romantic drama, this John Madden film looks at the relationship between Queen Victoria and John Brown, a commoner who, though a servant, becomes her closest friend and confidant. As such, he proves the catalyst to bring her back into public life and out of her private mourning for the late Prince Albert. But the closeness of their friendship sets tongues wagging about the impropriety of what appears to be an affair between queen and commoner (an issue the film never directly addresses). Mrs Brown's charm lies in the flinty give-and-take between the wonderfully starchy Judi Dench as Victoria and the robust Scottish comedian Billy Connolly, here playing it straight as a strong-willed Scotsman who comes to enjoy the power he wields by virtue of having the queen's ear. Antony Sher is also striking as Prime Minister Disraeli, in a performance that all but shimmers with unspoken malice. -Marshall Fine.

Now you can achieve multiple viewings of the best Sex on TV. Winner of Golden Globes for Best TV Series and Best Actress, Sex and the City is based on Candace Bushnell's provocative bestseller. Sarah Jessica Parker stars as Carrie Bradshaw, a self-described "sexual anthropologist", who writes "Sex and the City", a newspaper column that chronicles the state of sexual affairs of Manhattanites in this "age of un-innocence". Her "posse", including nice girl Charlotte (Kristin Davis), hard-edged Miranda (Cynthia Nixon) and sultry party girl Samantha (Kim Cattrall)-not to mention her own tumultuous love life-give Carrie plenty of column fodder. Over the course of the first season's 12 episodes, the most prominent dramatic arc concerns Carrie, who goes from turning the tables on "toxic bachelors" by having "sex like a man" to wanting to join the ranks of "the monogamists" with the elusive Mr Big (Chris Noth). Meanwhile, Miranda, Cynthia, and Samantha have their own dating woes. Seinfeld has nothing on Sex and the City when it comes to shallow, self-absorbed characters or coining catch phrases. Episode Two, for example, introduces the term "modeliser": a guy who is obsessed with and will only date models. Some may accuse this series of male-bashing but women, after years of enduring shows with "men behaving badly", will relish this new equality. Some may blanche at the ladies' graphic language and ribald humour, or dismiss some of the situations as unrealistic (Carrie doesn't bat an eyelid when she discovers that an artist friend surreptitiously videotapes his sexual conquests). [+]

A classic tale of murder and intrigue.

It's silly, it's superficial, it's so desperately earnest about its tale of time-spanning love that you almost wish for a cheap flatulence gag just to break the solemn mood. But there is something so unabashedly gushy and entertaining about Somewhere in Time that you can't begrudge its enduring popularity. The film has become a staple of romantic-movie lovers since its release in 1980, and endless showings on cable TV have turned it into a dubious classic of sorts-a three-hanky weepy that anyone can enjoy as a guilty pleasure or a beloved favourite, with no apologies necessary. In his first film after the star-making success of Superman, Christopher Reeve stars as a contemporary playwright who visits a posh hotel and sees the portrait of an actress (Jane Seymour) who had performed there in 1912. He becomes obsessed with this beautiful woman and learns all he can about her, and then discovers a method of hypnotically transporting himself backward in time to meet her. "Is it. you?" she says upon seeing the lovestruck playwright, and it's clearly a mutual attraction. But even the slightest reminder of the playwright's modern time can jar him from his seemingly real existence in the past, so his wonderful love affair is constantly just a step from being stolen away. [+]

An epic saga stretching from 1964 to 1995, Our Friends in the North follows the lives of four young people in North-East England. Nicky Hutchinson (Christopher Eccleston) is initially courting Mary Soulsby (Gina McKee) but the relationship cools when it takes second place to his campaigning for Harold Wilson's Labour Party. She weds Tory Tosker Cox instead, but their marriage is a miserable one, living in a rot-infested high rise block built following a dubious new housing scheme. Meanwhile, "Geordie" Peacock, finally tiring of his drunken, abusive father, headbutts him and hitches down to London, where he ends up working for a surrogate "family" led by Malcolm McDowell's flash Soho sex club baron. Over the years, the paths of these characters intertwine, diverge then cross again, albeit occasionally stretching the bounds of plausible coincidence. The drama takes place against the backdrop of local authority and police corruption in the 60s, the radical far-left militancy of the early 70s, Thatcher's election, the 1984 miner's strike and the subsequent "murder" of Northern communities. What's brilliant about Our Friends is its melding of the personal and the political, with the soap opera of family estrangement played out against a backdrop of social decline. Peter Vaughn, playing Nicky's Dad as a former Jarrow marcher stricken by Alzheimer's, is especially poignant. If you didn't see this the first time, do so now. On the DVD: Our Friends in the North has a bonus disc featuring a discussion with writer Peter Flannery and the producers and directors in which the making of the programme is revealed to have been as epic and protracted a saga as the drama itself. [+]

Legendary silent film director Cecil B. DeMille didn't much alter the way he made movies after sound came in, and this 1956 biblical drama is proof of that. While graced with such 1950s niceties as VistaVision and Technicolor, The Ten Commandments (DeMille had already filmed an earlier version in 1923) has an anachronistic, impassioned style that finds lead actors Charlton Heston and Yul Brynner expressively posing while hundreds of extras writhe either in the presence of God's power or from orgiastic heat. DeMille, as always, plays both sides of the fence as far as sin goes, surrounding Heston's Moses with worshipful music and heavenly special effects while also making the sexy action around the cult of the Golden Calf look like fun. You have to see The Ten Commandments to understand its peculiar resonance as an old-new movie, complete with several still-impressive effects such as the parting of the Red Sea. -Tom Keogh, Amazon. com.

Ranked 34 on the American Film Institute's list of the 100 Greatest American Films, To Kill a Mockingbird is quite simply one of the finest family-oriented dramas ever made. A beautiful and deeply affecting adaptation of the Pulitzer Prize-winning novel by Harper Lee, the film retains a timeless quality that transcends its historically dated subject matter (racism in the Depression-era South) and remains powerfully resonant in present-day America with its advocacy of tolerance, justice, integrity and loving, responsible parenthood. It's tempting to call this an important "message" movie that should be required viewing for children and adults alike, but this riveting courtroom drama is anything but stodgy or pedantic. As Atticus Finch, the small-town Alabama lawyer and widower father of two, Gregory Peck gives one of his finest performances with his impassioned defence of a black man (Brock Peters) wrongfully accused of the rape and assault of a young white woman. While his children, Scout (Mary Badham) and Jem (Philip Alford), learn the realities of racial prejudice and irrational hatred, they also learn to overcome their fear of the unknown as personified by their mysterious, mostly unseen neighbour Boo Radley (Robert Duvall, in his brilliant, almost completely nonverbal screen debut). What emerges from this evocative, exquisitely filmed drama is a pure distillation of the themes of Harper Lee's enduring novel, a showcase for some of the finest American acting ever assembled in one film, and a rare quality of humanitarian artistry (including Horton Foote's splendid screenplay and Elmer Bernstein's outstanding score) that seems all but lost in the chaotic morass of modern cinema. -Jeff Shannon.

Expanded from a one-act stage play by Noel Coward, Brief Encounter is without doubt one of the true masterpieces of British film history. The story seems slight-a respectable suburban housewife has a chance meeting with a handsome married doctor, their friendship becomes romance, but they feel the pressures of convention pulling their relationship apart-but the writing, acting and direction are sublime, turning what might have been just another melodrama into a memorable and heartbreaking story of impossible love. David Lean went on to make much bigger films than this, but few of those epics packed the emotional punch of this picture, set in a mundane world of railway stations, semi-detached houses and inexpensive cafes. Trevor Howard is perfectly cast as Alec, the doctor, but the film belongs above all to Celia Johnson, as the heroine Laura. It's easy to mock her clipped ultra-English accent, but she gives one of the greatest screen performances imaginable, brilliantly evoking how an ordinary life can be turned upside down by unexpected passion. Throw in the superb use of Rachmaninov's swooning Second Piano Concerto, shrewd supporting acting from Cyril Raymond, Joyce Carey and Everley Gregg, and some of the best black-and-white photography of its era, and the result is irresistible. Anyone who isn't besotted with Brief Encounter has either never been in love, or doesn't deserve to be. -Andy Medhurst.

Director Francis Coppola's adaptation of the popular SE Hinton novel about the price of rebellious youth is notable chiefly for the stunning cast of young actors who went on to rich and varied careers. In supporting roles, the film features the likes of Tom Cruise, Patrick Swayze, Diane Lane, Rob Lowe, Emilio Estevez, and Tom Waits, among others. The story centres on two rival gangs in the early 1960s Midwest, and the violent turf wars that escalate and tragically claim young lives. C Thomas Howell plays the central character who yearns to prove himself and be accepted by his older brothers' gang, while at the same time finding his first love and dreaming of a life beyond his dead end existence. Geared toward the teenage crowd, The Outsiders nonetheless features some fine direction from Coppola in a story that evokes memories of the classic coming-of-age films of the 1950s. -Robert Lane.