A sleeper hit when released in 1986, Stand by Me is based on Stephen King's novella "The Body" (from the book Different Seasons); but it's more about the joys and pains of boyhood friendship than a morbid fascination with corpses. It's about four boys ages 12 and 13 (Wil Wheaton, River Phoenix, Corey Feldman, Jerry O'Connell) who take an overnight hike through the woods near their Oregon town to find the body of a boy who's been missing for days. Their journey includes a variety of scary adventures (including a ferocious junkyard dog, a swamp full of leeches and a treacherous leap from a train trestle), but it's also a time for personal revelations, quiet interludes and the raucous comradeship of best friends. Set in the 1950s, the movie indulges an overabundance of anachronistic profanity and a kind of idealistic, golden-toned nostalgia (it's told in flashback as a story written by Wheaton's character as an adult, played by Richard Dreyfuss). But it's delightfully entertaining from start to finish, thanks to the rapport among its young cast members and the timeless, universal themes of friendship, family and the building of character and self-esteem. Kiefer Sutherland makes a memorable teenage villain and look closely for John Cusack in a flashback scene as Wheaton's now-deceased and dearly missed brother. A genuine crowd-pleaser, this heartfelt movie led director Rob Reiner to even greater success with his next film, The Princess Bride. -Jeff Shannon.

Italian star and filmmaker Massimo Troisi was dying of heart failure even before this film, his dream project, began production, and he prevailed upon British director Michael Radford (White Mischief) to see him and the film through to the end. (The 40-year-old Troisi, a beloved comic actor in Italy, died the day production wrapped. ) Based on true events, Troisi plays a shy postman who strikes up an unlikely friendship with exiled Chilean poet Pablo Neruda (Philippe Noiret). Through Neruda's example and tutelage, the hero learns to think of his Italian fishing village in lyrical terms, as well as how to talk to women and even find the strength to take his political stands. Sweet as it is, the film finally pushes beyond its charming borders to become an even more complex and poignant story about the pain of growing into one's destiny. -Tom Keogh, Amazon. com.

If you can manage to suspend your disbelief for the duration, you won't be disappointed with Air Force One. Harrison Ford plays a US president who single-handedly employs his rigid anti-terrorism policy when a band of Russian thugs hatch a mid-flight takeover of Air Force One. Gary Oldman, who chews the scenery as the lead terrorist, will shoot a hostage at the slightest provocation. Glenn Close plays the sternly pragmatic vice president who negotiates with Oldman from her Washington seat of power. If you can believe that the aircraft's pressurized cabin can sustain hundreds of rounds of machine-gun fire, you'll buy anything in this entertaining potboiler, especially thanks to Ford's stalwart heroics and some nifty special effects. Director Wolfgang Petersen (Das Boot) keeps the action moving so fast you won't be sweating the details. -Jeff Shannon, Amazon. com.

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. [+]

During the Second World War the Germans put many of the Allied prisoners-of-war (POWs) who had proved consistent escapees together in a maximum security fortress, the very name of which became a legend. Based on the book by Colditz escapee Major Pat Reid, The Colditz Story (1957) documents the further, sometimes successful, escape attempts of these extraordinarily brave, resourceful and indomitable men. Starring John Mills, Eric Portman, Bryan Forbes and Anton Diffring, and co-written and directed by Guy Hamilton, who later made The Battle of Britain (1969), this is a sober, even-handed account, that is gripping and informative, yet not without humour. Sterling performances from the cast of stalwart actors adds up to a British cinema classic. Such is the fascination of Colditz that in 1972-3 the BBC made a very successful drama series staring Jack Hedley, Bernard Hempton, Robert Wagner and David McCallum, while in 2000 Channel 4 offered a superb three-part documentary, Escape from Colditz. In contrast to the semi-documentary feel of The Colditz Story David Lean's classic The Bridge on the River Kwai, from the same year, is an epic and powerful account of POW life in barbaric Japanese prison camps. -Gary S. Dalkin.

In 1980, as President Reagan commenced his loony rhetorical war on the "the evil empire" ofSoviet Russia, thoughtful heartthrob Warren Beatty was labouring over Reds, a three-hour homage to the Bolshevik revolution, backed to the tune of $33 million by the Gulf + Western-owned Paramount Pictures. Beatty had long admired John Reed, the American journalist who witnessed Lenin's finest hours and was buried in the Kremlin after his death in 1920. To Beatty's great credit, he delivered a picture that is both epic pageant and tragic romance, replete with affectionate respect for the best traditions of socialism. Reds begins in 1915 in Portland, Oregon, where Reed (Beatty), budding radical and chronicler of Pancho Villa's Mexican uprising, makes the acquaintance of Louise Bryant (Diane Keaton), proto-feminist and aspiring writer. He and Louise become lovers amid the intellectual ferment of Greenwich Village and Provincetown, but her affair with the brilliant, melancholy Eugene O'Neill (Jack Nicholson) cleaves them asunder. Still, inspired by tumultuous events in Russia, they re-team for a mission to Moscow, where they rekindle their ardour and wind up storming the Winter Palace. Back in the US, Reed composes Ten Days That Shook the World while Louise discovers her own formidable voice. But Reed's factional feuds within the American Socialist Party lead him back to Moscow, where disillusion and heartbreak lie in store. Two years in production, shot across six countries, Reds was a massively risky undertaking. Producer-director Beatty hired the brilliant Trevor Griffiths as screenwriter, but other hands massagedthe script. [+]

The Cook, the Thief, His Wife and Her Lover is both adored and detested for its combination of sumptuous beauty and revolting decadence. Few directors polarise audiences in the same way as Peter Greenaway, a filmmaker as influenced by Jacobean revenge tragedy and 17th-century painting as by the French New Wave. A vile, gluttonous thief (Michael Gambon) spews hate and abuse at a restaurant run by a stoic French cook (Richard Bohringer), but under the thief's nose his wife (the ever-sensuous Helen Mirren) conducts an affair with a bookish lover (Alan Howard). Clothing (by avant-garde designer Jean-Paul Gaultier) changes colour as the characters move from room to room. Nudity, torture, rotting meat, and Tim Roth at his sleaziest all contribute the atmosphere of decay and excess. Not for everyone, but for some, essential. -Bret Fetzer.

Howards End is E M Forster's beautifully subtle story of the criss-crossing paths of the privileged and those they disdain-and of a remarkable pair of women who can see beyond class distinctions. Dramatic and tragic but also surprisingly funny, this James Ivory film focuses on a pair of unmarried sisters (Emma Thompson, who won an Oscar, and Helena Bonham Carter) who befriend a poor young clerk (Sam West) and, without meaning to, ruin his life. Meanwhile, Thompson also makes the acquaintance of a dying neighbour (Vanessa Redgrave), who leaves her a family home in her will-which her husband (Anthony Hopkins) destroys. But, ironically, he meets and falls in love with Thompson, even as their paths once more intersect with the increasingly miserable young clerk. Ruth Prawer Jhabvala's beautifully economical script also won an Oscar. -Marshall Fine.

Hey, chicky baby-it's a cuckoo thing, ya dig? You, too, will find yourself speaking Rat Pack lingo after watching this made-for-HBO biopic about that brief and shining moment when Camelot met Hoboken-on-the-Pacific. The film does a good job of capturing the heady, anything-goes feel of the late-1950s, early-1960s era when Frank Sinatra, Dean Martin and their running buddies ruled Hollywood, Las Vegas and, it seemed, the world. The story centres on Sinatra's relationship with John F Kennedy (William F Petersen) before and after he was elected president. It's not particularly flattering to either man, as Sinatra pimps Kennedy into a relationship with Judith Campbell, at the same time she was the favourite consort of mob boss Sam Giancana. Ray Liotta is a forceful Sinatra (though it's not much of an impression); Joe Mantegna has the look and the sound of the surprisingly sober Dean Martin; and Don Cheadle does a great job as the racially conflicted Sammy Davis Jr. Not great cinema but it's never less than engrossing. -Marshall Fine, Amazon. com.