A Gothic-comedy masterpiece, The League of Gentlemen Christmas Special is a horrific anthology of three related stories, all set in Royston Vasey, which takes its inspiration as much from the writings of MR James and Edgar Allan Poe as the low-budget Hammer and Amicus shockers that the team parody so affectionately. The stories are all linked by the Dickensian device of Reverend Bernice receiving unexpected guests on Christmas Eve: the first concerns troubled married couple Charlie and Stella becoming unwittingly involved in voodoo and witchcraft; the second features the horrendous Herr Lipp in a Nosferatu skit that reveals the terrible truth about what really goes on in Duisburg; while the third, and best, tells of the horrible hereditary curse that afflicted Dr Chinnery's great-grandfather. This one-off special distils all the League's penchant for disturbing, twisted characterisation and macabre humour into a single hour; the result is one of the most daring "comedies" ever seen on British TV. On the DVD: The League of Gentlemen Christmas Special on disc contains the hour-long main feature accompanied by a diverse and entertaining array of extras. There's another illuminating group commentary; a 20-minute documentary "Tales from Behind the Crypt", in which we get to see excerpts from the team's first ensemble effort, "Highgate House of Horror"; a chat with composer Jody Talbot; and the League themselves "In Conversation" with Paul Jackson in the complete Radio 4 broadcast. A selection of out-takes, extended scenes, character biographies and a photo gallery are all worthwhile, but best of all is a Jackanory special with Mark Gatiss as the Victorian Dr Chinnery telling the Gothic tale of "The Curse of the Karrit Poor", a spot-on Arthur Conan Doyle spoof. -Mark Walker.

Absolutely Fabulous was first broadcast in 1992 and became an instant hit. Originally a sketch on the French and Saunders Show, Jennifer Saunders saw its potential and created one of the most ground-breaking and debauched comedies on British TV. Centred around the hip London fashion scene the series follows Edina (Saunders) and Patsy (Joanna Lumley), two women who refuse to grow up and are constantly on a mission to lose weight, gorging themselves with cocaine and/or champagne, endlessly throwing parties (or throwing up at parties), and sporting outrageous outfits which were the height of fashion at the time-honestly sweetie! The superb comic performances offered star status to Julia Sawalha as Edina's straight-laced daughter and Jane Horrocks as the sublimely dippy Bubble, and re-invented the careers of Joanna Lumley and June Whitfield. Saunders meanwhile secured her status as one of the top female comedians Britain has ever produced. Although its consciously chic clothing looks a little dated now, its mad characterisations endure and the jokes remain as hilariously slick and apt as ever. Ab Fab remains a landmark in TV since it was the first time that female comedians and writers had had the freedom and exposure to satirise problems close to their own heart, from their own perspective. With Feminist writers claiming that the ideals of feminism were dead in the 1990s and that female concerns were moving in the wrong direction-towards the "Laddette Culture"-and reports claiming that careers were taking a central role, forcing motherhood onto the back-burner, the series sought to embody and satirise these new supposedly "female" characteristics. As the show continued to grow in popularity both in Britain and the States, plans were made to transfer the formula to America. However, as with many other great British series, the content was considered too risky for American audiences due to the amount of sex and drug references. Thus domestic audiences breathed a sigh of release that their beloved Ab Fab would forever stay British to the core. [+]

No-one can deny that the British love their dogs, but Best in Show proves that the Americans are just as canine crazy. Christopher Guest's (This is Spinal Tap, Waiting for Guffman) latest mockumentary looks at the lives and dodgy doggie loves of the contestants in the USA's most prestigious dog show, The Mayflower. The comedy is observational and mostly improvised, but there are also some genuinely hilarious set pieces and running gags as well as some perfectly timed one-liners, all of which repay repeated viewing. Owners really do become like their dogs as Guest presents a parade of brilliantly observed caricatures, revealing their human weaknesses and quirks and defying you not to find something immensely likeable about each one. Guest slowly introduces us to the principal players in a series of formal interviews and fly-on-the-wall profiles. Meet life partners Scott Donlan and Stefan Vanderhoof with their kimonos and matching Shih Tzus; a trophy wife who shares a love of soup and snow peas with her aged, billionaire husband; the suburban couple, Gerry and Cookie Fleck (brilliantly underplayed by co-writer Eugene Levy and Catherine O'Hara); incredibly highly strung lawyers the Swans and their dysfunctional Weimaraner; and Guest himself as the drawling Southern fishing shop owner and bloodhound breeder Harlan Pepper. This is Guest at his irreverent best. On the DVD: The pin-sharp widescreen 1. 85:1 anamorphic picture means the viewer can really appreciate the film's cinematic nuances, and the Dolby Digital 5. 1 soundtrack means that you don't miss any of the dialogue subtleties either. [+]

Transplanted from England to the not-so-mean streets of Chicago, the screen adaptation of Nick Hornby's cult-classic novel High Fidelity emerges unscathed from its Americanisation, idiosyncrasies intact, thanks to John Cusack's inimitable charm and a nimble, nifty screenplay (co-written by Cusack). Early-thirtysomething Rob Gordon (Cusack) is a slacker who owns a vintage record shop, a massive collection of LPs, and innumerable top-five lists in his head. At the opening of the film, Rob recounts directly to the audience his all-time top-five breakups- which doesn't include his recent falling out with his girlfriend Laura (Iben Hjejle), who has just moved out of their apartment. Thunderstruck and obsessed with Laura's desertion (but loath to admit it), Rob begins a quest to confront the women who instigated the aforementioned top-five breakups to find out just what he did wrong. Low on plot and high on self-discovery, High Fidelity takes a good 30 minutes or so to find its groove (not unlike Cusack's Grosse Pointe Blank), but once it does, it settles into it comfortably and builds a surprisingly touching momentum. Rob is basically a grown-up version of Cusack's character in Say Anything (who was told "Don't be a guy-be a man!"), and if you like Cusack's brand of smart-alecky romanticism, you'll automatically be won over (if you can handle Cusack's almost non-stop talking to the camera). Still, it's hard not to be moved by Rob's plight. At the beginning of the film he and his coworkers at the record store (played hilariously by Jack Black and Todd Louiso) seem like overgrown boys in their secret clubhouse; by the end, they've grown up considerably, with a clear-eyed view of life. Ably directed by Stephen Frears (Dangerous Liaisons), High Fidelity features a notable supporting cast of the women in Rob's life, including the striking, Danish-born Hjejle, Lisa Bonet as a sultry singer/songwriter, and the triumphant triumvirate of Lili Taylor, Joelle Carter, and Catherine Zeta Jones as Rob's ex-girlfriends. With brief cameos by Tim Robbins as Laura's new, New Age boyfriend and Bruce Springsteen as himself. [+]

The original co-writer and director of Fear and Loathing in Las Vegas was Alex Cox, whose earlier film Sid and Nancy suggests that Cox could have been a perfect match in filming Hunter S Thompson's psychotropic masterpiece of "gonzo" journalism. Unfortunately Cox departed due to the usual "creative differences", and this ill-fated adaptation was thrust upon Terry Gilliam, whose formidable gifts as a visionary film-maker were squandered on Thompson's ether-fogged narrative. The result is a one-joke movie without the joke-an endless series of repetitive scenes involving rampant substance abuse and the hallucinogenic fallout of a road trip that's run crazily out of control. Johnny Depp plays Thompson's alter ego, "gonzo" journalist Raoul Duke, and Benicio Del Toro is his sidekick and so-called lawyer Dr Gonzo. During the course of a trip to Las Vegas to cover a motorcycle race, they ingest a veritable chemistry set of drugs, and Gilliam does his best to show us the hallucinatory state of their zonked-out minds. This allows for some dazzling imagery and the rampant humour of stumbling buffoons, and the mumbling performances of Depp and Del Toro wholeheartedly embrace the tripped-out, paranoid lunacy of Thompson's celebrated book. But over two hours of this insanity tends to grate on the nerves-like being the only sober guest at a party full of drunken idiots. So while Gilliam's film may achieve some modest cult status over the years, it's only because Fear and Loathing in Las Vegas is best enjoyed by those who are just as stoned as the characters in the movie. -Jeff Shannon, Amazon. com.