In between his breakthrough film (Life Is Sweet) and his world sensation (Secrets and Lies), filmmaker Mike Leigh created his most abrasive and daring film, Naked. This "Angry Young Man" for the 1990s follows an acidic wanderer (Cannes award winner David Thewlis) who observes a corrosive Britain. An intellectual, bitter film filtered with debauchery and black humour, Naked follows the bemusing Johnny as he crosses in and out of doorways, drifting into old acquaintances and new lost souls. It is more of a character film than sheer entertainment and thus it can be hard to watch but it offers one of the great performances of the 1990s. Thewlis would have been an Oscar shoo-in if he'd worn a dinner jacket and repressed his emotions. He didn't, and his brilliant work went unrecognised in mainstream America. -Doug Thomas.

A potboiler featuring a demented caretaker and a seemingly hapless suburban family, this is The Nanny of the 1990s. However, it is much more predictable than that 1965 Bette Davis psychodrama, and more graphic. It works only because Rebecca De Mornay makes us intensely uncomfortable as the disturbed au pair who wants to take care of much more than her employer's well-being. Annabella Sciorra plays the perfect mother of a flawless family. Her obstetrician, however, is less than wonderful, having enjoyed her examination much more than he should have. When she files sexual harassment charges against the repugnant doctor, he loses face-literally-after shooting himself in the head. Several months later, an ideal nanny shows up at her home. You guessed it-she's the doc's widow. The movie follows a tried and trusted formula, with the audience in on everything. However, the story does surprise us in intense and intimate ways. [+]

A rash of daring bank robberies erupts, in which the bad guys all wear the masks of worse guys-former presidents (nice touch). Johnny Utah (Keanu Reeves), an impossibly named former football star who blew out his knee and became a crime-busting fed instead, figures out that none of the heists occur during surfing season, and all of them occur when, so to speak, surf's down. So obviously, he reasons, we're dealing with some surfer-dude bank robbers. He goes undercover with just such a group, led by a very spiritual, very guru-type guy played by Patrick Swayze, who has some muddled philosophies when it comes to materialism. If you can buy all that, this efficiently directed (by Kathryn Bigelow) action flick has some diverting moments (credit it, for example, for anticipating the extreme-sports fad). But Reeves's intelligent-sounding lines don't make him seem remotely intelligent, and that plot makes him look positively brilliant. -David Kronke Efficiently directed by Kathryn Bigelow and featuring some diverting action scenes, 1991's Point Break can be credited with anticipating the extreme-sports fad. A rash of daring bank robberies erupt in which the bad guys all wear the masks of worse guys-former presidents (nice touch). Johnny Utah (Keanu Reeves), an impossibly named former football star who blew out his knee and became a crime-busting federal agent instead, figures out that none of the heists occur during surfing season and all of them occur when, so to speak, surf's down. So obviously, he reasons, we're dealing with some surfer-dude bank robbers. [+]

In The Acid House director Paul McGuigan adapts three Irvine Welsh short stories. These are set in an unflinchingly depicted world of grey, breeze block tenements, wiry psychos, short leather skirts, beer, fags and drugs, kinky sex in badly wallpapered lounges, random violence, hideous-looking babies, raves, footy, discarded crisp packets and barely intelligible dialogue featuring the occasional use of non-profanity. "The Granton Star Clause" tells the unhappy tale of wee, pasty-faced Boab Doyle, who in one long, unhappy sequence loses his place in the football team, his girlfriend, his job and gets kicked out of the house by his parents, before an encounter with God (here, a hard-bitten, lager-quaffing Maurice Roeves) leads to a surreal, Kafka-esque conclusion. The second tale, "A Soft Touch", is gruellingly and well portrayed but pointlessly depressing. Kevin McKidd plays Johnny, a supermarket employee with an appalling slag-hag of a girlfriend who takes up with his new, violently psychotic and parasitical neighbour Larry. Will he stand up for himself? The answer will leave you thoroughly unsatisfied. Finally, there's "The Acid House", the funniest but silliest of the three tales in which Ewan Bremner plays an obnoxiously livewire Hibs fan who takes one too many tabs and ends up being transported into the mind of stereotypically middle-class couple's-Martin Clunes and Jemma Redgrave-baby. The Acid House is compulsive but bleak, exhilarating but ambivalent. The viewer is asked to bring their own moral compass to these stylised yet non-judgemental episodes. Fans of Trainspotting, however, will certainly find much of the scintillating same here. [+]

The biggest (and arguably the best) from Hollywood's Golden Age of Epic, Ben-Hur cost a staggering 15 million dollars in 1959 and was one of the largest film productions ever undertaken: the Circus Maximus set alone, constructed for the climactic chariot race, covered 18 acres and was filled with 40,000 tons of Mediterranean sand. Fittingly the movie scooped an unprecedented 11 Academy Awards that year, an achievement only equalled three decades later by Titanic, another bloated, wildly costly epic, albeit one with a distinctly less literate script (Gore Vidal provided uncredited script-doctoring for Ben-Hur). Director William Wyler, who had been an assistant on MGM's original silent version back in 1925, never sacrifices the human focus of the story in favour of spectacle (he had the good sense to leave the great chariot racing scene to second-unit director and experienced stuntman Yakima Canutt). Charlton Heston as Judah Ben-Hur dominates an appropriately vast ensemble cast, while Miklos Rozsa's majestic musical score adds immeasurably to the sense of occasion. The Christian theme, the very crux of Lew Wallace's original novel, is handled sensitively, focusing on the central character's love and compassion for his family (evoked by the discovery of their leprosy), and heavy-handed sermonising is thankfully avoided (the figure of Christ is seen but never heard-his presence signalled by a serene musical motif instead). On the debit side, at four hours it's a long haul especially given some of the portentous dialogue-"You can break a man's skull. You can arrest him. You can throw him into a dungeon. But how do you fight an idea?"-but worst of all is having to watch it on a tiny TV screen (and any TV screen is too tiny for this movie). The movie's theatrical aspect ratio is 2. [+]

When a pop singer at the height of her career appears in a film there's never going to be any doubt who the star is, and Crossroads makes sure the audience doesn't forget it. Britney Spears is Lucy, who, along with her friends Kit (Zoe Saldana) and Mimi (Taryn Manning), buries a time capsule to be opened upon their high-school graduation. They all grow apart because of their different backgrounds, but reunite after the prom and bizarrely decide to embark on a road trip to Los Angeles for various reasons. Enter Enrique Iglesias look-alike, the lovable rogue Ben (Anson Mount), who kindly drives them all the way cross country. Throw in car trouble, singing for money and Britney falling in love and that's the journey over with. By the time they get to LA it gets even more predictable and ends with Britney singing "I'm Not a Girl, Not Yet a Woman" at the audition for Slide Records, winning the respect of her father (played by Dan Aykroyd) and gaining the love of Ben. Spears performance and that of her costars is perfect for the nature of the film-an homage to 80s flicks about teen angst-which even begins with Lucy dancing round her 80s-themed bedroom singing along to an old Madonna record. Spears' Lucy is a resourceful gal who saves the day every time, whether they need a mechanic, an accountant, a driver, a lead singer, or just a shoulder to cry on. She writes poetry, too. Is there anything Britney Spears can't do? On the DVD: Crossroads the DVD comes with an impressive list of interactive features, including a "Pop-Up Britney" where her head bursts through the screen and describes how she felt filming the current scene. [+]

There have been many film and TV adaptations of Oliver Twist but this 1948 production from director David Lean remains the definitive screen interpretation of the Charles Dickens classic. From the ominous symbolism of its opening storm sequence (in which Oliver's pregnant, ill-fated mother struggles to reach shelter before childbirth) to the mob-scene climax that provokes Bill Sikes's dreadful comeuppance, this breathtaking black-and-white film remains loyal to Dickens while distilling the story into its purest cinematic essence. Every detail is perfect-Lean even includes a coffin-shaped snuffbox for the cruel Mr. Sowerberry-and as young Oliver, eight-year-old John Howard Davies (who would later produce Monty Python's Flying Circus for the BBC) perfectly expresses the orphan's boyish wonderment, stern determination and waifish vulnerability. Best of all is Alec Guinness as Fagin, so devious and yet so delightfully appealing under his beak-nosed (and, at the time, highly controversial) make-up. (Many complained that Fagin's huge nose and greedy demeanour presented an anti-Semitic stereotype, even though Lean never identifies Fagin as Jewish; for this reason, the film wasn't shown in the US until three years after its British release. ) Likewise, young Anthony Newley is artfully dodgy as Fagin's loyal accomplice, the Artful Dodger. Guinness's performance would later provide strong inspiration for Ron Moody's equally splendid portrayal of Fagin in the Oscar-winning Oliver! and while that 1968 musical remains wonderfully entertaining, it is Lean's film that hews closest to Dickens' vision. The authentic recreation of 19th-century London is marvellous to behold; Guy Green's cinematography is so shadowy and stylised that it almost qualifies as Dickensian film noir. Lean is surprisingly blunt in conveying Dickens's theme of cruelty but his film never loses sight of the warmth and humanity that Oliver embodies. [+]

Made to re-launch television's most famous time traveller, Doctor Who: The Movie is an expensive feature-length episode which attempts to continue the classic series and work as a stand-alone film. Transporting the remains of the Master, Sylvester McCoy's Seventh Doctor is diverted to San Francisco in 1999. Regenerating in the form of Paul McGann, the Doctor gains a new companion in heart surgeon Dr Grace Holloway (Daphne Ashbrook) and must stop the Master from destroying the world. All of which might have been fine, had not the most eccentrically British of programmes been almost entirely assimilated by the requirements of American network broadcasting. Matthew Jacobs' screenplay is literally nonsense, dependent on arbitrary, unexplained events while introducing numerous elements that contradict established Doctor Who mythology. The Tardis is re-imagined as a bizarre pre-Raphaelite/Gothic folly, while the Doctor, now half-human, becomes romantically involved with his lady companion. From the West Coast setting to metallic CGI morphing, from the look of Eric Roberts as the Master to a motorcycle/truck freeway chase, director Geoffrey Sax borrows freely from James Cameron's Terminator 2: Judgment Day (1991). Doctor Who fans should feel relieved this travesty was not successful enough to lead to lead to a series, though McGann himself does have the potential to make a fine Doctor. This is the slightly more violent US TV edit, rather than the cut version previously released on video. On the DVD: There are two BBC trailers and a Fox promo "introducing the Doctor" to American audiences. [+]

Directed by Ralph Thomas, Above Us the Waves (1955) tells of a Royal Navy mission to sink the "invincible" German battleship Tirpitz, off the Norwegian coast. John Mills is calm and confident as the mission commander, with strong support from John Gregson and Donald Sinden-all treated by the German personnel as fellow gentlemen when captured. Despite stirring music from Arthur Benjamin, the action sequences are visually no more than adequate, and the film is only a partial success. -Richard Whitehouse.