The African Queen meets Swept Away in this sometimes laboured romantic comedy by director Ivan Reitman. Fortunately, he cast an old pro in Harrison Ford, as Quinn Harris, a South Seas charter pilot who must ferry New York fashion editor Robin Monroe (Anne Heche) from one island to another-a hop that falls flat when they fly into a mammoth storm that causes them to crash on a deserted island. The pair resent and resist each other, until they are forced to team up to escape from the island-and some modern pirates who want their heads. If that part of the story is unconvincing, you can always focus on the smouldering comic chemistry between Heche, who displays strong comic instincts, and the ever-reliable Ford. The script is just an excuse for these two flinty characters to strike increasingly romantic sparks off each other, which is always enjoyable to watch. -Marshall Fine, Amazon. com.

Few films have defined a generation as much as The Graduate did. The alienation, the nonconformity, the intergenerational romance, the blissful Simon and Garfunkel soundtrack-they all served to lob a cultural grenade smack into the middle of 1967 America, ultimately making the film the third most profitable up to that time. Seen from a later perspective, its radical chic has dimmed a bit, yet it's still a joy to see Dustin Hoffman's bemused Benjamin and Anne Bancroft's deliciously decadent, sardonic Mrs Robinson. The script by Buck Henry and Calder Willingham is still offbeat and dryly funny and Mike Nichols, who won an Oscar for his direction, has just the right, light touch. -Anne Hurley, Amazon. com.

Sixteen years after Francis Ford Coppola won his second Oscar for The Godfather II (his first was for the 1972 Godfather), the director and star Al Pacino attempted to revive the concept one more time. Despite an elaborate plot that involves Michael Corleone seeking redemption through the Vatican while simultaneously preparing his nephew (Andy Garcia) to take over the Corleone family, the film fails to take shape as a truly meaningful experience in the way the preceding movies do. Still, Pacino is very moving as an elder Michael, filled with regret and trying hard to make amends with his wife (Diane Keaton) and grown children (one of whom is played, and not all that well, by the director's daughter, Sofia Coppola). -Tom Keogh.

A big-budget summer epic with money to burn and a scale worthy of its golden Hollywood predecessors, Ridley Scott's Gladiator is a rousing, grisly, action-packed epic that takes movie-making back to the Roman Empire via computer-generated visual effects. While not as fluid as the computer work done for, say, Titanic, it's an impressive achievement that will leave you marvelling at the glory that was Rome, when you're not marvelling at the glory that is Russell Crowe. Starring as the heroic general Maximus, Crowe firmly cements his star status both in terms of screen presence and acting chops, carrying the film on his decidedly non-computer-generated shoulders as he goes from brave general to wounded fugitive to stoic slave to gladiator hero. Gladiator's plot is a whirlwind of faux-Shakespearean machinations of death, betrayal, power plays, and secret identities (with lots of faux-Shakespearean dialogue ladled on to keep the proceedings appropriately "classical"), but it's all briskly shot, edited, and paced with a contemporary sensibility. Even the action scenes, somewhat muted but graphic in terms of implied violence and liberal bloodletting, are shot with a veracity that brings to mind-believe it or not-Saving Private Ryan. As Crowe's nemesis, the evil emperor Commodus, Joaquin Phoenix chews scenery with authority, whether he's damning Maximus's popularity with the Roman mobs or lusting after his sister Lucilla (beautiful but distant Connie Nielsen); Oliver Reed, in his last role, hits the perfect notes of camp and gravitas as the slave owner who rescues Maximus from death and turns him into a Colosseum star. Director Scott's visual flair is abundantly in evidence, with breathtaking shots and beautiful (albeit digital) landscapes, but it's Crowe's star power that will keep you in thrall-he's a true gladiator, worthy of his legendary status. Hail the conquering hero! -Mark Englehart, Amazon. com.

Chutney Popcorn is an amusing exploration of surrogate motherhood that never lets cross-cultural or lesbian issues overrun what is essentially a family drama. Nisha Ganatra directs, writes and takes the lead role as Reena, a New York artist and lesbian with Indian roots that include an over-indulgent mother and newlywed perfect sister, Sarita. On finding that Sarita is infertile, Reena proposes becoming a surrogate mother, not just to help out her sister but to prove to her mother that she is capable of living up to the traditional values of womanhood. The pregnancy puts obvious strain on Sarita's marriage and she begins to distance herself from Reena and the unborn baby. At the same time, Reena's live-in girlfriend Lisa (Jill Hennessy) has commitment issues; babies never being part of her life equation. For her first feature film, Ganatra shows much promise with her ability to blend the various issues at the film's heart without becoming over-sentimental about them. Madhur Jaffrey offers a surprisingly sparky comic turn as the doting mother trying to hold on to the values of her homeland. The script is loaded towards the inevitable happy ending, which feels far too easy and upbeat, leaving the audience with unanswered questions about the future of the child. Despite such reservations, Chutney Popcorn is a spicy look into the alternative family that's more substantial than just a simple side dish. -Nikki Disney.

The film version of Nick Hornby's novel About a Boy takes a deeper though no less entertaining approach than the easy laughs of Fever Pitch and High Fidelity. The "coming together" of idle playboy Will (Hugh Grant) and put-upon loner Marcus (Nicholas Hoult) is a revealing tale of self-understanding and role reversal. Will finds that being yourself is of little consequence without a defining human context, while Marcus finds that pleasing others counts for little without a degree of self-confidence. How they arrive at this complementary awareness is the intriguing subject matter of the film, involving well-meaning single mothers, difficult adolescents and helpless older adults. Yet there's a wider significance to all this in the guise of human stereotypes-how we fall into them and how we can try to get out of them. The film's wit and amusement comes down to deft and understated directing from Chris and Paul Weitz, and a snappily crafted screenplay from Peter Hedges and the Weitz brothers. Grant clips his hair as well as his vowels for a believable and ultimately sympathetic Will-by far his best performance since Four Weddings and a Funeral. As Marcus, Hoult is convincingly self-dependent, but could have been even more self-absorbed. Toni Colette is a dead-ringer for the well-meaning but ineffectual hippie mother Fiona, while Rachel Weisz gives her best screen performance to date as the attractive and vulnerable Rachel, with whom Will comes of age emotionally. Badly Drawn Boy's soundtrack will delight those who enjoy his brand of reconstituted 1970s Dylan; the title track has a wistful charm and there's a gem of an instrumental in the "Countdown" sequence. [+]