This 1930 film, No 54 on the AFI's Top 100 list, still holds up as a surprisingly forceful and honest antiwar drama. Indeed, the modern sensibility is almost as startling as the sometime stagy acting of Lew Ayres, which can be excused by the fact that, three years after the introduction of sound, actors were still applying stage techniques to talking pictures. Ayres plays a German college student during World War I, who is brainwashed into enlisting in the Army (along with the rest of his class) by a zealously inspirational college professor. Once in uniform and on the front lines, however, he quickly discovers that the glory of the Fatherland is of little concern to a soldier dodging bullets and explosions, whose comrades are dying in his arms. As powerful in its way as Platoon almost 60 years later, All Quiet on the Western Front remains a classic tale of young soldiers' confrontations with the possibility of imminent and arbitrary death. Director Lewis Milestone shows a surprising range of techniques in this film from the formative years of moviemaking with sound. -Marshall Fine.

The Wild One is the original motorcycle film, starring Marlon Brando as the brooding leader of a biker gang that invades a small town. The film always looked like one of those synthetic Hollywood ideas of subculture life in the 1950s, which means it looks even more artificial today. But it is an actor's piece more than anything, and toward that end Brando's performance really is an important one in the context of his revolutionary reinvention of film acting during that decade. The film was directed by Lásló Benedek (Namu, the Killer Whale) and produced by the socially conscious Stanley Kramer. -Tom Keogh, Amazon. com.

The second most-watched mini-series (after Roots) of all time, The Thorn Birds was originally broadcast in 1983 and captivated viewers with its story of a lifelong conflict between the spirit and the flesh. Adapted from the bestselling novel by Colleen McCullough, the production stars Richard Chamberlain as a Catholic priest named Ralph de Bricassart, whose life in Australia between 1920 and 1962 is one long torment as he pines for his lover, Meggie Carson (Rachel Ward), while seeking advancement in his clergyman career. The passion and the guilt make for compelling drama, but a stellar cast of supporting players adds muscle to the proceedings: Barbara Stanwyck (who won an Emmy for her work as Meggie's tough grandmother), Jean Simmons, Richard Kiley, Christopher Plummer, Bryan Brown and Mare Winningham. Chamberlain, who was something of the king of the mini-series form at the time, is very good in the lead, as is the often-underrated Ward. Their affair is indeed irresistible to watch, which proves to be true, too, of the story's thick weave of church politics, forbidden desire, social change over decades, and family secrets. -Tom Keogh, Amazon. com.

Gia is a made-for-TV HBO film that stars Angelina Jolie as supermodel model Gia Carangi, who went from high school to the cover of British Vogue in less than two years. Carangi appeared on many more covers of Vogue (French, British, Italian, and American) and Cosmopolitan before dying of complications from AIDs (she was an IV heroin user) in 1986. Jolie comes by her talent honestly: she's the daughter of veteran actor Jon Voight, and her own training as a model serves her well here-she has the moves. Throughout, she's heartbreaking-as no doubt the real Carangi was-effective, and stunning. With good source material (Stephen Fried's A Thing of Beauty: The Tragedy of Supermodel Gia), Jolie's stunning performance, and strong directing by Michael Cristofer, the movie goes beyond the merely sensational. The script was co-written by Cristofer and novelist Jay McInerney, whose Bright Lights, Big City covers similar territory. As a cautionary tale, Gia works. But to watch Jolie in her character's tragic self-destruction is utterly compelling. -NF Mendoza, Amazon. com.

Of all Trek series to go the distance, Voyager is the one most deserving something special at its finale. After all, we've followed the ship lost in space for so long; every viewer simply wants to know if they'll get home, and how? To fox all expectations, "Endgame", a feature-length two-parter, opens with the crew already back on Earth! Those twists of grey in Admiral Janeway's hair and the bug eyes of a loony tunes Tuvok soon reveal all's not as it seems, however. It's many years later and it took decades for them to return; the losses along the way (specifically Chakotay) fire up the now crusty old Captain to break Starfleet rules one more time; in one last glorious mouthful of technobabble she steals the technology to go back in time and bring her crew home much sooner. This allows for the resolution of several plot threads that had been building over the much-improved Season 7. Icheb, Lt Barclay (reliable Dwight Schultz) and Admiral Paris are all allowed to resolve their cameo story arcs. The main focus, however, is finally pulling the plug on the nasty Borg Queen (Alice Krige from First Contact, instead of the series' replacement actress), and the big FX-laden showdown was worth the wait. As a result, "Endgame" achieved the show's highest viewing figures since the introduction of Seven in Season 4 ("Scorpion, Part 2"). True to its original ideals, Voyager was all about keeping the family together right to the end, and the last line of dialogue is identical to the pilot's: "Mr Paris, set a course for home". -Paul Tonks.

Actor Griffin Dunne improves a bit on his first film as a director, Addicted to Love, with this drama-comedy about a family of witches. Nicole Kidman and Sandra Bullock play spell-casting sisters of different temperaments: the former is a high-living, free-spirited sort, while Bullock's character is a homebody who can't get around a family curse that kills the men in their lives. A widowed single mom, Bullock gets into a jam with an abusive Bulgarian (Goran Visnjic) and is helped out by her sibling, but the result brings a good-looking, warm, inquisitive cop (Aidan Quinn) into their lives. The film has a variety of tonal changes-cute, scary, glum-that Dunne can't always effectively juggle. But the female-centric, celebratory nature of the film (the fantasies, the sharing, the witchy bonds) is infectious, and supporting roles by Dianne Wiest and Stockard Channing as Kidman and Bullock's magical aunts are a lot of fun. -Tom Keogh.

Artist-writer Katsuhiro Omoto began telling the story of Akira as a comic book series in 1982 but took a break from 1986 to 1988 to write, direct, supervise and design this animated film version. Set in 2019, the film richly imagines the new metropolis of Neo-Tokyo, which is designed from huge buildings down to the smallest details of passing vehicles or police uniforms. Two disaffected orphan teenagers-slight, resentful Tetsuo and confident, breezy Kanada-run with a biker gang, but trouble grows when Tetsuo start to resent the way Kanada always has to rescue him. Meanwhile, a group of scientists, military men and politicians wonder what to do with a collection of withered children who possess enormous psychic powers, especially the mysterious, rarely seen Akira, whose awakening might well have caused the end of the old world. Tetsuo is visited by the children, who trigger the growth of psychic and physical powers that might make him a superman or a super-monster. As befits a distillation of 1,318 pages of the story so far, Akira is overstuffed with character, incident and detail. However, it piles up astonishing set pieces: the chases and shoot-outs (amazingly kinetic, amazingly bloody) benefit from minute cartoon detail that extends to the surprised or shocked faces of the tiniest extra; the Tetsuo monster alternately looks like a billion-gallon scrotal sac or a Tex Avery mutation of the monster from The Quatermass Experiment; and the finale-which combines flashbacks to more innocent days with a destruction of Neo City and the creation of a new universe-is one of the most mind bending in all sci-fi cinema. -Kim NewmanOn the DVD: as befits this film's status as a Manga classic, Akira has a wide selection of extras spread across two discs, including a "Making of Akira" documentary, a photo gallery, a quiz and a "Make your own trailer" feature, as well as one hidden feature on each disc. The film has been digitally remastered and presented in widescreen format, with Dolby Digital 5. 1 for the English-dubbed version, and Dolby Digital 2. [+]

There are some filmmaking teams that invariably bring out the best in each other, and that's definitely the case with director Carroll Ballard and cinematographer Caleb Deschanel. They previously collaborated on The Black Stallion and Never Cry Wolf, and Fly Away Home is their third family film that deserves to be called a classic. Inspired by Bill Lishman's autobiography, the movie tells the story of a 13-year-old girl (Anna Paquin) who goes to live with her estranged, eccentric father (Jeff Daniels) following the death of her mother. At first she's withdrawn and reclusive, but finds renewed happiness when she adopts an orphaned flock of baby geese and, later, teaches them to migrate using an ultralight. Sensitively directed and stunningly photographed, the movie has flying sequences that are nothing short of astonishing, and Daniels and Paquin (Oscar winner for The Piano) make a delightful father-daughter duo. -Jeff Shannon.