Grease was a phenomenal hit with its target teenage audience when it was released in 1977. The songs dominated the pop charts and brought heady success for its lead actors, John Travolta (Danny) and Olivia Newton-John (Sandy) despite the fact that-as with their energetic co-stars-their own teenage years were some way behind them. As they seize the chance to relive their schooldays, their verve and enthusiasm explodes from the screen. The real class, though, comes from Stockard Channing as feisty Rizzo and, in a couple of cameos, wisecracking silver screen actresses from yesteryear Eve Arden and Joan Blondel. Based on the 1972 stage show and adding several new numbers, Grease is at heart a rites-of-passage movie with plenty of feel-good moments and a euphoric buzz. "You're the One That I Want", "Hopelessly Devoted to You" and "Summer Nights" became the soundtrack for a generation of high-school students on the cusp of adulthood. Today, it looks like a pastiche of those 1950s Connie Francis rock & roll beach films. But the steady stream of double entendres and knowing body language render it more accessible to the less innocent late 1970s. It's overwhelming nostalgia for anyone in the vicinity of 40. On the DVD: The 25th anniversary special edition of Grease rolls back the years: the 2. [+]

Hollywood's legendary "woman's director," George Cukor (The Women, The Philadelphia Story), transformed Audrey Hepburn into street-urchin-turned-proper-lady Eliza Doolittle in this film version of the Lerner and Loewe musical. Based on George Bernard Shaw's play Pygmalion, My Fair Lady stars Rex Harrison as linguist Henry Higgins (Harrison also played the role, opposite Julie Andrews, on stage), who draws Eliza into a social experiment that works almost too well. The letterbox edition of this film on video certainly pays tribute to the pageantry of Cukor's set, but it also underscores a certain visual stiffness that can slow viewer enthusiasm just a tad. But it's really star wattage that keeps this film exciting, that and such great songs as "On the Street Where You Live" and "I Could Have Danced All Night. " Actor Jeremy Brett, who gained a huge following later in life portraying Sherlock Holmes, is quite electric as Eliza's determined suitor. -Tom Keogh Hollywood's legendary "woman's director," George Cukor (The Women, The Philadelphia Story), transformed Audrey Hepburn into street-urchin-turned-proper-lady Eliza Doolittle in this film version of the Lerner and Loewe musical. Based on George Bernard Shaw's play Pygmalion, My Fair Lady stars Rex Harrison as linguist Henry Higgins (Harrison also played the role, opposite Julie Andrews, on stage), who draws Eliza into a social experiment that works almost too well. Star wattage keeps this film exciting, that and such great songs as "On the Street Where You Live" and "I Could Have Danced All Night. " Actor Jeremy Brett, who gained a huge following later in life portraying Sherlock Holmes, is quite electric as Eliza's determined suitor. -Tom Keogh.

Though it's not in the same league as the classic screen musicals, Annie's heart-warming rags-to-riches story line, social comment (shallow as it may be) and catchy songs make for an entertaining and unpretentious 90 minutes' viewing. While the songs-including "Tomorrow", "You're Never Fully Dressed Without a Smile" and "It's a Hard Knock Life"-are excellent, the kids' voices are shrill and the production pretty low-rent: Annie is very obviously a stage show brought to screen on a low budget. But while it lacks the polish that make the Rodgers and Hammerstein and Lerner and Loewe musicals so special, it's funny and sweet and has a rough charm all its own. -Rikki Price.

Choreographer-turned-director Bob Fosse turns the camera on himself in All That Jazz, a nervy, sometimes unnerving 1979 feature, a nakedly autobiographical piece that veers from gritty drama to razzle-dazzle musical, allegory to satire. It's an indication of his bravura, and possibly his self-absorption, that Fosse (who also co-wrote the script) literally opens alter ego Joe Gideon's heart in a key scene-an unflinching glimpse of cardiac surgery, shot during an actual open-heart procedure. Roy Scheider makes a brave and largely successful leap out of his usual romantic lead roles to step into Gideon's dancing pumps and supplies a plausible sketch of an extravagant, self-destructive, self-loathing creative dynamo, while Jessica Lange serves as a largely allegorical Muse, one of the various women that the philandering Gideon pursues (and usually abandons). Gideon's other romantic partners include Fosse's own protégé (and a major keeper of his choreographic style since his death) Ann Reinking, whose leggy grace is seductive both "onstage" and off. Fosse/Gideon's collision course with mortality, as well as his priapic obsession with the opposite sex, may offer insights into the libidinal core of the choreographer's dynamic, sexualised style of dance, but musical aficionados will be forgiven for fast-forwarding to cut out the self-analysis and focus on the music, period. At its best-as in the knockout opening, scored to George Benson's strutting version of "On Broadway", which fuses music, dance and dazzling camera work into a paean to Fosse's hoofer nation-All That Jazz offers a sequence of classic Fosse numbers-hard-edged, caustic and joyously physical. -Sam Sutherland.

Martin Scorsese took a daring turn from the mean streets that made his reputation in the early 70s with New York, New York, his homage to the big-band era. And what a homage it is: the dazzling production design by Boris Leven continues to impress over the film's nearly three-hour length. And there's no denying the anthemic appeal of Kander and Ebb's title song, belted with winning bravado by costar Liza Minnelli in a show-stopping finale. But as valiantly as Minnelli and Robert De Niro try, they can't elevate the shaky plot beyond its two-dimensional construct. It purports to be a Star Is Born-like tragedy of colliding careers but too often it feels like inadvertently eavesdropping on a marriage counsellor's most truculent clients. (There are times you want someone-anyone-to slap Minnelli upside the head with a copy of Women WhoLove Too Much. ) The film is for diehard Minnelli (or Scorsese) fans only. -Anne Hurley.