At the heart of Henry VIII stands a towering performance by Ray Winstone, who literally grows into the role, impressively doubling in size and ageing 40 years over the course of two feature-length episodes. Focusing on Henry's relationships with his six wives, this lavish mini-series also makes a good job of explaining the complex court intrigues of the period, detailing Henry's split with Rome and the political crisis following the creation of the Church of England. Winstone initially seems to play the King as little more than a London gangster, but he gradually unfolds a complex, brutal, manipulative, romantic, dedicated and driven man with great skill. In a role which harks back to Lady Jane (1986), Helena Bonham Carter makes an intelligent and sardonic Anne Boleyn, her bold performance contrasting strongly with Geneviève Bujold in Anne of the Thousand Days (1969). Emily Blunt impresses as the sexpot Katherine Howard, and Emilia Fox is compelling as Henry's greatest love, Jane Seymour. There's fine support from an all-star cast, including Sean Bean, Charles Dance and David Suchet. The production is unflinching, with burnings, torture, marital violence and executions graphically portrayed. If there's a weakness it lies in too-modern dialogue and an uncertain visual style, with noticeable borrowings from John Boorman's Excalibur and Ridley Scott's Gladiator, as well as setting Shakespeare in Love-style elegance against the ugly colours and graininess of reality TV. Ultimately Henry VIII plays most like a prequel to Elizabeth (1999)-right down to using the same piece of Elgar to underscore the finale-and has most of the same faults and virtues as that Oscar-winning film. -Gary S Dalkin.

The flaws are easily forgiven in this beautiful version of Louisa May Alcott's novel. A stirring look at life in New England during the Civil War, Little Women is a triumph for all involved. We follow one family as they split into the world, ending up with the most independent, the outspoken Jo (Winona Ryder). This time around, the dramatics and conclusions fall into place a little too well, instead of finding life's little accidents along the way. Everyone now looks a bit too cute and oh, so nice. As the matron, Marmee, Susan Sarandon kicks the film into a modern tone, creating a movie alive with a great feminine sprit. Kirsten Dunst (Interview with the Vampire) has another showy role. The young ensemble cast cannot be faulted, with Ryder beginning the movie in a role akin to light comedy and crescendos to a triumphant end worthy of an Oscar. -Doug Thomas.

Most people didn't mind Gwyneth Paltrow's English accent in this charming, 1996 adaptation of Jane Austen's novel (which also inspired Clueless). But even if it doesn't sound quite right to you, there are plenty of authentic and wonderful Brit thespians in this film by screenwriter-turned-director Douglas McGrath (co-author of Woody Allen's Bullets Over Broadway), including Juliet Stevenson (Truly Madly Deeply), Alan Cumming (Buddy), Phyllida Law (Much Ado About Nothing), Ewan McGregor (the Scots star of Trainspotting) and Sophie Thompson, outstanding and finally heartbreaking as the chattering Miss Bates. Paltrow plays Austen's benign busybody, Emma Woodhouse-so busy trying to arrange the lives of others that she is sidestepping her own. McGrath brings a kind of pretty and light touch to the production, his best move the wise delegation of creative authority to the actors themselves. -Tom Keogh Most people didn't mind Gwyneth Paltrow's English accent in this charming 1996 adaptation of Jane Austen's novel Emma. There are also plenty of authentic and wonderful Brit thespians in this film by screenwriter-turned-director Douglas McGrath (co-author of Woody Allen's Bullets Over Broadway), including Juliet Stevenson (Truly Madly Deeply), Phyllida Law (Much Ado About Nothing), Ewan McGregor and Sophie Thompson who offers an outstanding and finally heartbreaking turn as the chattering Miss Bates. Paltrow plays Austen's benign busybody, Emma Woodhouse-so busy trying to arrange the lives of others that she is sidestepping her own. McGrath brings a kind of pretty and light touch to the production; his best move the wise delegation of creative authority to the actors themselves. -Tom Keogh, Amazon. com Emma Thompson scores a double bull's-eye with this marvellous adaptation of Jane Austen's novel. [+]

A film which regularly charts high in critics' polls of the best films of all time, director Marcel Carné and screenwriter Jacques Prévert's masterpiece Les Enfants du Paradis is as solid a landmark in French film history as the Eiffel Tower is on the Parisian landscape. And at 187 minutes running time, it's a massy edifice indeed, built from a rambunctious cast of characters-ranging from pickpockets and prostitutes to aristocrats and actors-whose lives intersect around the Theatre des Funambules, a popular Parisian theatre on the Boulevard du Crime, during the 1840s. (The title refers to the poor who can only afford seats in the upper galleries of the theatre. ) The heart of the plot is a love story between mime artiste Baptiste (Jean-Louis Barrault) and streetwalker Garance (the magnificent, sand-paper-voiced Arletty). When Garance is falsely accused of pickpocketing, Baptiste provides a mimed alibi for her to the police (one of the film's most famous set pieces). The rose she later throws him in gratitude sets off a romantic obsession, one of several that structure the film, as do love triangles, duels, and tortured confessions of feeling. Thematically, Les Enfant du Paradis gnaws over typically French cinematic preoccupations: illusion and reality, the nature of performance, the indomitable spirit of the proletariat and so on, all made the more charged and poignant when you know the film was shot during the Nazi occupation. (One actor, Robert Le Vigan, was reportedly a Nazi collaborator and disappeared during the filming under mysterious circumstances and so had to be replaced by Pierre Renoir. ) -Leslie Felperin.

One of the better BBC costume dramas of recent years, 2003's Charles II: The Power and the Passion depends very strongly on its central performance. Fortunately, Rufus Sewell is admirable throughout as the saturnine, witty monarch who has retained popular fondness down the centuries in spite of his conscientious adherence to the bad and losing cause of absolute monarchy. Adrian Hodge's intelligent script dramatises the issue in quick sound bites-many politicians accepted the Restoration to avoid chaos and were determined to bring Charles to heel, whereas he was determined to defend the position for which his father had been martyred. If that meant handing the throne to his Catholic brother in default of a legitimate son of his own, so be it. The four hour-long episodes cover the Restoration, the Plague and the Fire of London, the secret treaties with France and the Popish Plot, as well as giving us a fair bit of Charles's moderately happy marriage to Catherine (Shirley Henderson in the most hideously accurate historical hairdos ever) and his affairs with various mistresses. Among a number of fine supporting performances, Rupert Graves stands out as Buckingham, the friend who betrayed Charles. This sort of costume drama only ever works if the acting is as good as it is here. On the DVD: Charles II on disc comes with a making-of documentary and a commentary on the first episode from writer Adrian Hodge and the director and producer. It also includes an extended documentary on Charles's back story-his education, his attempt to fight Cromwell's forces, his period on the run in England and his long exile-in which a number of eminent historians, including Richard Holmes and Ronald Hutton, talk about how he became the king he was. -Roz Kaveney.

Sergei Eisenstein's revolutionary sophomore feature has so long stood as a textbook example of montage editing that many have forgotten what an invigoratingly cinematic experience he created. A 20th-anniversary tribute to the 1905 revolution, Eisenstein portrays the revolt in microcosm with a dramatisation of the real-life mutiny aboard the battleship Potemkin. The story tells a familiar party-line message of the oppressed working class (in this case the enlisted sailors) banding together to overthrow their oppressors (the ship's officers), led by proto-revolutionary Vakulinchuk. When he dies in the shipboard struggle the crew lays his body to rest on the pier, a moody, moving scene where the citizens of Odessa slowly emerge from the fog to pay their respects. As the crowd grows Eisenstein turns the tenor from mourning a fallen comrade to celebrating the collective achievement. The government responds by sending soldiers and ships to deal with the mutinous crew and the supportive townspeople, which climaxes in the justly famous (and often imitated and parodied) Odessa Steps massacre. Eisenstein edits carefully orchestrated motions within the frame to create broad swaths of movement, shots of varying length to build the rhythm, close-ups for perspective and shock effect, and symbolic imagery for commentary, all to create one of the most cinematically exciting sequences in film history. Eisenstein's film is Marxist propaganda to be sure but the power of this masterpiece lies not in its preaching but its poetry. -Sean Axmaker.