Torrid drama in which a singer in a brothel seeks salvation through love but her efforts are thwarted by her past. Top acting from a star cast.

Playing by Heart is an amiably amorphous comedy-drama about a myriad of articulate and witty people pondering the meaning of love. It was originally titled Dancing About Architecture, since, as one of the lovelorn puts it in trying to explain the elusive nature of desire, "Talking about love is like dancing about architecture". However, with the way the characters in Willard Carroll's film talk, it sounds like they could dance a samba around Frank Lloyd Wright. This undiscovered gem doesn't have a particular destination in mind, as it weaves in and out of the stories of its high-profile ensemble, but it does offer some hilarious, sharp dialogue and quiet surprises. Carroll focuses his film on four couples, all in one way or another battling with the problems of relationships, ranging from long-marrieds (Gena Rowlands and Sean Connery) to Gen-X club-hoppers (Angelina Jolie and Ryan Phillippe). Ostensibly, part of the film is invested in the mystery of how all these characters are interrelated, but keen viewers will be able to discern the connections among them all. It's the uniformly excellent performances, though, that make Playing by Heart compulsively watchable. Most striking, surprisingly enough, are Jolie and Phillippe, the youngest members of the cast who reveal heretofore hidden depths of talent. Jolie in particular increases her already-soaring stock as an actress. Equally impressive are Gillian Anderson and Jon Stewart, who transcend their yuppie personas in their awkward enactment of the timeless dating rituals. [+]

This gentle "true" fairy tale succeeds on nearly every level, becoming an intelligent handling of a tabloid story. In 1817 a young foreign drifter (Phoebe Cates, never better) sets a small portion of England buzzing that she is a royal princess from an uncharted land. This feels like a magical movie with slightly overcooked characters, such as Kevin Kline's Greek butler. The supporting cast is older than in most movies of this type-no cute actors, we have performers with chiselled features and gruff voices. Director Michael Austin's decision to approach this as a true story keeps things firmly grounded so the eccentrics are not overplayed. Beautifully filmed by the great Freddie Francis (Glory) and featuring a surprisingly rich cast (Stephen Rea, Wendy Hughes, Jim Broadbent and John Lithgow), Princess Caraboo is simply the best family movie since The Secret Garden. -Doug Thomas.

Werner Herzog's lengthy 1982 fever dream is typical of the director's passion for boundless experience: the story concerns the title character's determination to open a shipping route over the Amazon as well as build an opera house (worthy of Caruso) at a river trading post. Klaus Kinski (star of Herzog's Aguirre, the Wrath of God) plays the visionary/madman with a spooky dignity, and Herzog-as always-thrills to the mystic possibilities of filming where no one else would even think of placing a camera. -Tom Keogh, Amazon. com.

Based on the true story of the building of a bridge on the Burma railway by British prisoners-of-war held under a savage Japanese regime in World War II, The Bridge on the River Kwai (1957) is one of the greatest war films ever made. The film received seven Oscars, including Best Picture, Director, Performance (Alex Guinness), for Sir Malcolm Arnold's superb music, and for the screenplay from the novel by Pierre Boulle (who also wrote Monkey Planet, the inspiration for Planet of the Apes). The story does take considerable liberties with history, including the addition of an American saboteur played by William Holden, and an entirely fictitious but superbly constructed and thrilling finale. Made on a vast scale, the film reinvented the war movie as something truly epic, establishing the cinematic beachhead for The Longest Day (1962), Patton (1970) and A Bridge Too Far (1977). It also proved a turning-point in director David Lean's career. Before he made such classic but conventionally scaled films as In Which We Serve (1942) and Hobson's Choice (1953). Afterwards there would only be four more films, but their names are Lawrence of Arabia (1962), Dr Zhivago (1965), Ryan's Daughter (1970) and A Passage to India (1984). On the DVD: Too often the best extras come attached to films that don't really warrant them. Not so here, where a truly great film has been given the attention it deserves. The first disc presents the film in the original extra-wide CinemaScope ratio of 2. [+]

If the concept of a TV drama set in a woman's prison was one potentially fraught with cliché, the critical and commercial success of Bad Girls is a testament to fine writing, performance and production. With no preamble or scene setting, Series 1 immediately plunges the viewer into the world of Larkhall Prison, its inmates and staff. This approach leaves the characters to reveal themselves at varying pace, with each episode bringing new details about their life on the outside. Given the nature of the setting, it is unsurprising that the show is an ensemble, female-dominated piece. Simone Lahbib, Mandana Jones and Debra Stephenson are all excellent in the three key roles, with impressive support throughout the cast. Male characters are generally relegated to the sidelines, with the exception of sleazy warden Jim Fenner (played with skin crawling accuracy by Jack Ellis). The sexual realities of the environment are handled realistically and sensitively, and not for nothing is the word "uncut" splashed across the cover: there are some quite disturbing scenes, especially in the earlier episodes. On the DVD: The DVD enhances the show's attempts to capture the atmosphere of prison, with sharp contrast between light and darkness and the constant barracking, cat-calling and snide asides sounding crisp, clear and suitably nasty. Of the impressive 70 minutes of extra features much will only be of real interest to absolute devotees. A documentary examining work on the forthcoming third series may go into admirable detail, but how much interest a costume truck can actually be is perhaps debatable. [+]

The husband (Michael Douglas) is a currency trader whose portfolio value is going right down the drain. The wife (Gwyneth Paltrow) is the heiress to a $100 million fortune. The marriage is not a happy one, but the promise of long-term affluence keeps them together. The wife pursues an affair with an artist (Viggo Mortenson) who gives her all the passion she doesn't get at home, and when the husband finds out, well. someone's going to pay with their life. Who will the unlucky one be? We wouldn't dare spoil the elegant plot twists of this devious thriller, but it's well known that Douglas excels at portraying greedy characters with ice in their veins. Here, it's easy to assume that Douglas has pulled off, as the title implies, a killing that nobody will ever pin on him. But this is the kind of glossy thriller (loosely inspired by Alfred Hitchcock's Dial M for Murder) that delights in disrupting your expectations, so it grabs your attention right up to the final scene. [+]

An irresistible, comic drama from director Alan Parker (Evita, Mississippi Burning), overflowing and alive with passion, humor and music, The Commitments showcases some old R&B standards in a new light. A headstrong, fast-talking, ambitious young Dubliner (Robert Arkins) fancies himself a promoter of talent, and sets about assembling and packaging a local Irish R&B band. His group of self-absorbed, backbiting, but stunningly talented individuals begin to succeed beyond his wildest dreams, until petty jealousies and recrimination threaten to scuttle the whole deal. A moody, vivid and soulful exploration of the Dublin club scene as well as a showcase for some wonderful unknown actors, the film (and its wonderful soundtrack) also features the actual band covering classic soul tunes from the likes of Otis Redding and Sam and Dave. It's that combination of soul and soul music that makes The Commitments a special little film. -Robert Lane, Amazon. com -This text refers to the VHS edition of this video.

From the outset, Star Trek: Deep Space Nine was about conflict. Producers Rick Berman and Michael Piller challenged the utopian ideals of Gene Roddenberry's Star Trek universe to create something totally different from its predecessors. That meant no familial camaraderie, squeaky-clean Federation diplomacy, or beige décor. Instead they wanted interpersonal friction, ruthless enemies (Gamma Quadrant Imperialists-The Dominion) and rebellion at every turn. The DS9 concept was originally facilitated by introducing the Cardassian/Bajoran war during The Next Generation's final days. After a muted first reception fans gradually came to accept the new look, but no one liked Star Trek without a starship and eventually the producers capitulated to viewers' wishes by introducing the USS Defiant (an apt name) in Season 3. Relying far less on technobabble than TNG, DS9 was unafraid to focus on matters of the spirit instead, demonstrating a ballsy independence from its parent shows. Taking up the gauntlet thrown down by Babylon 5, improved CGI space battles also became a fan favourite. Throughout the increasingly serialised story arc there were rebellious factions within the different establishments: Kira had belonged to the Shakaar resistance cell; the Maquis was Starfleet vs Cardassians; section 31 was a secret Starfleet group; the True Way was a Bajoran group opposed to peace; the Cardassians had their Obsidian Order and the Romulans their Gestapo-like Tal Shiar. Yet for all its constant bickering and espionage (even Bashir got to be James Bond), there was always some contemporary social commentary lurking: the Ferengi were used as a comedic foil to frown on materialistic greed; drugs were looked at via the Jem'Hadar foot soldiers' addiction to Ketracel White. [+]

When Warner Brothers was unable to secure the rights to Richard Preston's terrifying non-fiction book The Hot Zone (purchased by a rival studio), they took the basic idea of a fatal virus on the loose in the US, added Dustin Hoffman and director Wolfgang Petersen (Das Boot) and produced an unusual thriller-a surprise hit-called Outbreak. The other picture, slated to star Robert Redford and Jodie Foster, fell through. The premise of Outbreak, which owes something to Elia Kazan's 1950 plague-scare movie, Panic in the Streets, is as terrifying as it is timely. As developers slash their way deeper into the previously unexplored tropical rainforests, they are exposed to radically new forms of life, including diseases, that in these days of commonplace international travel could turn into deadly epidemics almost before we know it. Hoffman's character and his estranged wife (Rene Russo) are disease experts called in to identify the unknown killer, which was carried into the country by an illegally smuggled monkey. The best sequence shows the disease spreading-through recycled air on a passenger jet or a sneeze in a crowded cinema. The final chase is pretty conventional but the cast is terrific, including Morgan Freeman, Kevin Spacey, Donald Sutherland, Cuba Gooding Jr. , J. T. Walsh and Zakes Mokae. [+]