The fractured Europe post-World War II is perfectly captured in Carol Reed's masterpiece thriller, set in a Vienna still shell-shocked from battle. Holly Martins (Joseph Cotten) is an alcoholic pulp writer come to visit his old friend Harry Lime (Orson Welles). But when Cotton first arrives in Vienna, Lime's funeral is under way. From Lime's girlfriend and an occupying British officer, Martins learns of allegations of Lime's involvement in racketeering, which Martins vows to clear from his friend's reputation. As he is drawn deeper into post-war intrigue, Martins finds layer upon layer of deception, which he desperately tries to sort out. Welles' long-delayed entrance in the film has become one of the hallmarks of modern cinematography and it is just one of dozens of cockeyed camera angles that seem to mirror the off-kilter post-war society. Cotten and Welles give career-making performances and the Anton Karas zither theme will haunt you. -Anne Hurley.

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. [+]

Know how sometimes you can't get a song out of your head? Well, watch this Otto Preminger classic at your own peril: even if you've never heard the title tune before, you'll be humming it long after the movie is over. A tricky mystery, the film deals with the murder of a popular young woman, with whom several men seem to be involved. But the most unusual is the police detective (Dana Andrews) who, as he sifts through the clues, finds himself drawn over and over to the painted portrait of the murdered woman until he becomes obsessed with her. Preminger won the Oscar as best director, though he finished the film after Rouben Mamoulian started it. Oscars also went to the cinematography, the screenplay and supporting actor Clifton Webb, as the acidic columnist who was close to Laura. -Marshall Fine, Amazon. com.

An intense dramatisation of a long-suppressed Cold War anecdote, K-19: The Widowmaker is the first big Hollywood film to view the conflict through a Soviet periscope, casting Harrison Ford and Liam Neeson (with slight accents) as patriotic Russians. In 1961, as NATO deploys long-range nuclear attack submarines, the Kremlin forces the Russian Navy to follow suit, whether they're ready or not. Ford takes over from popular skipper Neeson in command of the eponymous submarine, riding the men hard through a missile test, and then coping with an escalating series of crises as a jerry-built reactor threatens to melt down (and perhaps start World War III). Though the political specifics are fresh, this has all the expected elements of a sub movie, citing everything from Voyage to the Bottom of the Sea and Das Boot to Crimson Tide and The Caine Mutiny as sailors bristle mutinously under a marine martinet. This, along with inept engineering and ideological interference, prompts disaster. Director Kathryn Bigelow, the most undervalued talent in Hollywood, is in her element with heroic men under pressure, and a terrific central stretch has comrades trying to fix the reactor even though they've been given the wrong protective gear and start coming down with radiation sickness as they work. Less successful is a superfluous epilogue that pulls the old Spielberg present-day-reunion-of-the-aged-survivors-at-a-gravesite gambit. -Kim Newman.

Jack Nicholson was born to play the devil and in George Miller's adaptation of John Updike's novel he plays it for all he's worth. As a wolfish womaniser summoned by three bored women in a picturesque New England town, he's sating all of his appetites with a rakish grin. Cher, Susan Sarandon and Michelle Pfeiffer play the women who discover their untapped magical powers by accident. The smart and sexy singles, out of place in the conservatism of their village, find happiness, however briefly, in the arms and bed of the libidinous devil but he's got his own ulterior motives. Miller revels in the sensual display of sex, food and magic, whipping up a storm of effects that finally get out of hand in an overblown ending. It's a handsome film with strong performances all around but the mix of anarchic comedy and supernatural horror doesn't always gel and Miller seems to lose the plot in his zeal for cinematic excitement. The performances ultimately keep the film aloft: the hedonistic joy that Nicholson celebrates with every leering gaze and boorish vulgarity is almost enough to make bad form and chauvinism cool. -Sean Axmaker.

"I feel like I've been handed a new life", says Tom Ripley at a crucial turning point of this well-cast, stylishly crafted psychological thriller. And indeed he has, because the devious, impoverished Ripley (played with subtle depth by Matt Damon) has just traded his own identity for that of Dickie Greenleaf (Jude Law), the playboy heir to a shipping fortune who has become Ripley's model for a life worth living. Having been sent by Dickie's father to retrieve the errant son from Italy, Ripley has smoothly ingratiated himself with Dickie and his lovely, unsuspecting fiancée, Marge (Gwyneth Paltrow). In due course, the sheer evil of Ripley's amoral scheme will be revealed. Superbly adapted from the acclaimed novel by Patricia Highsmith (also the basis of the acclaimed French version, Purple Noon), The Talented Mr Ripley is writer-director Anthony Minghella's impressive follow-up to his Oscar-winning triumph The English Patient. Recreating late-1950s Italy in exacting detail, the film captures the sensuousness of la dolce vita while developing the fracturing of Ripley's mind as his crimes grow increasingly desperate. And where Hitchcock was necessarily discreet with the homosexual subtext of Highsmith's Strangers on a Train, Minghella brings it out of the closet, increasing the dramatic tension and complexity of Ripley's psychological breakdown. Phillip Seymour Hoffman and Cate Blanchett are excellent in pivotal supporting roles, and the film's final image is utterly effective: Ripley's talents have gone too far, and this study of class distinction, obsession and deadly desire reaches a disturbing yet richly appropriate conclusion. -Jeff Shannon, Amazon. com.

For a while it looks like Roman Polanski's The Ninth Gate, adapted from the novel The Club Dumas by Arturo Pérez-Reverte, might recapture the beautiful uneasiness of such masterpieces as Repulsion and Rosemary's Baby. The horror of a Roman Polanski picture is not about spectacle and shock but a goose-pimply sense of evil lurking just outside the frame and hidden behind the faces of slightly unsettling characters. Here, a calm, almost sleepy Johnny Depp plays cynical, unscrupulous rare-book hunter Dean Corso, who's hired by demonologist Boris Balkan (Frank Langella) to authenticate a rare volume that, legend has it, was co-written by Lucifer himself. Dean leaves a Gothic looking New York (re-created in Europe by Polanski as a sinister city of shadows) for Portugal and Paris to compare Balkan's volume with the two copies known to be in existence and uncovers a mystery with unholy ramifications. He also finds himself at the centre of a conspiracy that involves Balkan, a widow who will stop at nothing to retrieve Balkan's book (Lena Olin, who gleefully bites and claws her way through the part), and a mysterious guardian "angel" (Polanski's wife, Emmanuelle Seigner) who shadows his every step. The Ninth Gate is full of rumbling menace and deliciously unsettling imagery, but Polanski's languorous direction and purposefully vague story render a film that's eerie without every becoming thrilling. It's perpetually on the verge of becoming interesting-right up to its obscure final image. -Sean Axmaker, Amazon. comOn the DVD: Roman Polanski provides us with his first ever DVD commentary here, and makes his eye for detail and atmosphere very apparent in talking about design and his use of the camera. He also announces his love for the quality of DVD since he's always hated VHS. [+]

The six episode The Time Monster was the final story of the ninth season of Doctor Who, a strong run which also saw Jon Pertwee's Third Doctor facing The Day of the Daleks and The Sea Devils. The Master, Roger Delgado, is at the Newton Institute, experimenting with a fragment of crystal, which can summon Kronos, a time-eating entity from beyond space-time. The Doctor, Jo Grant (Katy Manning) and UNIT become involved in a sequence of strange temporal dislocations, eventually leading to ancient Atlantis itself. There Jo faces the Minotaur, played by Dave Prowse in a bull mask five years before he found fame as Darth Vader. The Time Monster is classic Doctor Who at its most surreal, the effects ranging from mediocre to functional, the Atlantis sets surprisingly lavish. The Doctor may escape from eternity by playing the scriptwriting equivalent of a get-out-of-jail-free card, but the sequence, in which his Tardis is inside the Master's Tardis, while the Master's Tardis is simultaneously inside the Doctor's Tardis, is a mind-bending highlight. Somewhat mistitled, the Colony in Space of this John Pertwee adventure is actually on the barren colony world Uxarieus. A group of settlers are struggling to make crops grow when an Interplanetary Mining Corporation team led by Morris Perry, effective as an official with the mind of a Nazi bureaucrat, arrive to claim the planet. Despite the sometimes-laughable production values and a few gaping holes in the plot Malcolm Hulke's script contains enough intrigue and incident to keep the whole thing moving briskly for six episodes. Colony in Space was significant for being the Third Doctor's first adventure away from earth, fitting into the eighth season after the Claws of Axos. [+]

One explanation for the enduring appeal of George Lucas' "space opera" might be that the Star Wars universe is a clever synthesis of a multitude of filmic, cultural and folkloric references, from Robin Hood (the Errol Flynn incarnation of course) to Tolkien to Samurai legends and Kurosawa's Hidden Fortress in particular (the inspiration for R2D2 and C3PO). As a result, audiences of almost all ages can find something to identify with. Luke Skywalker's journey from disaffected teenager dreaming of adventure beyond the narrow confines of home life to Jedi Knight and saviour of the galaxy is the very stuff of fairy-tale: he not only rescues a Princess, but discovers she's a close relative (one explanation for the relatively cool reception accorded to The Phantom Menace might be that it sacrifices the fairy-tale theme for political machination). If there's a lesson to be gleaned from the Skywalker clan it's that no matter how bad things get in the average dysfunctional family, it's never too late for reconciliation. Little wonder, then, that Star Wars continues to grip our collective imagination. This box contains, among other delights, the digitally remastered "Special Edtion" versions of the movies, restored and enhanced (some would say "tinkered with") by George Lucas in 1997. Star Wars has the most drastic changes, the best of which are the improved effects sequences; the worst the Cantina showdown where Han Solo near-suicidally now allows Greedo to get off a shot before firing back (since he misses at point-blank range, Greedo must be a very poor assassin indeed). The restoration of the Jabba-Solo scene is interesting although the CGI isn't completely convincing. The Empire Strikes Back also has touched-up effects shots, most spectacularly the expanded vistas of Cloud City; Return of the Jedi has a new song-and-dance number in Jabba's Palace (which is just as excruciating as the original) and a revised ending that looks forward (or should that be backwards?) to Episode I. Also included here is a 10-minute sneak preview of Episode II, due for theatrical release in Summer 2002, featuring interviews with Lucas and other cast and crew members. [+]

The 20th "official" 007 outing released in the 40th anniversary year of the series, Die Another Day is big, loud, spectacular, slick, predictable and as partially satisfying as most Bond movies have been for the last 30 years. Pierce Brosnan gives his best Bond performance to date, forced to suffer torture by scorpion venom administered by a North Korean dominatrix during the Madonna-warbled credits song. He traipses from Cuba to London to Iceland while feuding with a smug insomniac millionaire (Toby Stephens), who admits that he's an evil parody of Bond's own personality. There are many nods to the past: Halle Berry recreates Ursula Andress's entrance from Dr No, the gadget-packed car (which can become invisible) is a Goldfinger-style Aston Martin (albeit a brand-new model), the baddie's line in smuggled "conflict gems" and super-weapons derives from Diamonds Are Forever and the jet-pack from Thunderball can be seen in Q's lab. It's the longest of the franchise to date (two-and-a-quarter hours) and the first to augment stunts and physical effects with major CGI, though the best fight is traditional: a polite club fencing match between Brosnan and Stephens that gets out of hand and turns into a destructive hack-and-slash fest with multiple edged weapons. Berry may be the first Bond girl with an Oscar on her shelf, but she's still stuck with a bad hairdo as well as having to endure 007's worst chat-up lines. Amazingly, most of the old things here do still work, though it's a shame that director Lee Tamahori (Once Were Warriors) wasn't given a better script to play with. On the DVD: Die Another Day arrives on disc in a transfer that makes some of the CGI look less dodgy than it did in cinemas. The first disc includes two separate commentaries: an interesting, enthusiastic technical one with Tamahori and producer Michael Wilson, and a blander drone from Brosnan with input from "bad girl" actress Rosamund Pike. On Disc Two the main extra is "Inside Die Another Day", a 75-minute making-of with the usual 007 DVD extra mix of boosterism and solid background how-the-hell-they-did-it info. [+]

Halloween is as pure and undiluted as its title. In the small town of Haddonfield, Illinois, a teenage baby sitter tries to survive a Halloween night of relentless terror, during which a knife-wielding maniac goes after the town's hormonally charged youths. Director John Carpenter takes this simple situation and orchestrates a superbly mounted symphony of horrors. It's a movie much scarier for its dark spaces and ominous camera movements than for its explicit bloodletting (which is actually minimal). Composed by Carpenter himself, the movie's freaky music sets the tone; and his script (cowritten with Debra Hill) is laced with references to other horror pictures, especially Psycho. The baby sitter is played by Jamie Lee Curtis, the real-life daughter of Psycho victim Janet Leigh; and the obsessed policeman played by Donald Pleasence is named Sam Loomis, after John Gavin's character in Psycho. In the end, though, Halloween stands on its own as an uncannily frightening experience-it's one of those movies that had audiences literally jumping out of their seats and shouting at the screen. ("No! Don't drop that knife!") Produced on a low budget, the picture turned a monster profit, and spawned many sequels, none of which approached the 1978 original. Curtis returned for two more instalments: 1981's dismal Halloween II, which picked up the story the day after the unfortunate events, and 1998's occasionally gripping Halloween H20, which proved the former baby sitter was still haunted after 20 years. -Robert Horton.

Christopher Lee, long Hammer Studios' house villain, takes a rare heroic turn as scholar and occultist Duc de Richleau, the kind of role that Peter Cushing had made his métier. Lee plays Richleau with a dark elegance and intensity-he is a commanding figure with a trim goatee who discovers that the son of a war buddy has joined a satanic cult lorded over by the quietly malevolent Mocata (Charles Gray, best known as the narrator in The Rocky Horror Picture Show). Director Terence Fisher, working from a literate script by genre scribe Richard Matheson, creates a strikingly handsome period piece (set in 1920s rural England) dripping in dread as Richleau and Mocata battle for the souls of two young lovers on both physical and spiritual planes. The action scenes are well handled and the towering Lee cuts quite a figure leaping through hoards of robed devil worshippers to save a sacrificial victim, but the film peaks in an eerie supernatural battle in which Richleau and his sceptical party confronts Mocata's demons while protected in a giant pentagram. The effects are coarse and dated by today's standards, but the gorgeous period detail, vivid colour and unsettling imagery create a sinister ambience, and Fisher's mix of psychodrama and swashbuckling action makes for an engrossing thriller, a life-and-death struggle between two masters of the forces of light and darkness. -Sean Axmaker.