Dickens was the master of Victorian social satire, ruthlessly exposing the cruelty and absurdity that supported the strictly hierarchical class-structure of the day. This superb production of Our Mutual Friend does full justice to his darkest, most complex novel, fleshing out the satirical bones of the plot with performances that eschew caricature in favour of psychological depth. Anna Friel's Bella is wonderfully complex, her innate goodness struggling with her love of money and desire for advancement. Paul McGann, as the lawyer Wrayburn, is also superb, wrestling with the implications of his feelings for Lizzie. And of course, this being Dickens and the BBC, there's a terrific supporting cast, including Timothy Spall as the melancholy articulator of skeletons, Mr Venus. As the fortunes of the characters rise and fall, the river Thames flows eternally on, the symbolic backbone of this remarkable story. At six hours, this version of Our Mutual Friend is a long production, but not a moment too long. A mystery, a love story, a critique of the pursuit of wealth and status, this is perhaps the best adaptation of Dickens ever to be committed to film. -Simon Leake, Amazon. com.

Cold Mountain, freely adapted from Charles Frazier's beloved bestseller, boasts an impeccable pedigree as a respectable Civil War love story, offering everything you'd want from a romantic epic-except a resonant emotional core. Everything in this sweeping, Odyssean journey depends on believing in the instant love that ignites during a very brief encounter between genteel, city-bred preacher's daughter Ada (Nicole Kidman) and Confederate soldier Inman (Jude Law), who deserts the battlefield to return, weary and wounded, to Ada's inherited farm in the rural town of Cold Mountain, North Carolina. In an epic (but dramatically tenuous) case of absence making hearts grow fonder, Inman endures a treacherous hike fraught with danger (and populated by supporting players including Philip Seymour Hoffman, Natalie Portman, and others) while the struggling, inexperienced Ada is aided by the high-spirited Ruby (Renée Zellweger), forming a powerful farming partnership that transforms Ada into a strong, lovelorn survivor. The film's episodic structure slightly weakens its emotional impact, and it's fairly obvious that director Anthony Minghella is striving to repeat the prestigious romanticism of his Oscar-winning hit The English Patient. For the most part it works, especially in the dynamic performances of Zellweger and Kidman, and the explosive 1864 battle of Petersburg, Virginia, is recreated with violent, percussive intensity. Those who admired Frazier's novel may regret some of the changes made in Minghella's adaptation (the ending is particularly altered), but Cold Mountain remains a high-class example of grand, old-fashioned filmmaking, boosted by star power of the highest order. -Jeff Shannon.

Steven Spielberg's most simplistic, sanitised history lesson, Amistad, explores the symbolic 1840s trials of 53 West Africans following their bloody rebellion aboard a slave ship. For most of Schindler's List (and, later, Saving Private Ryan) Spielberg restrains himself from the sweeping narrative and technical flourishes that make him one of our most entertaining and manipulative directors. Here, he doesn't even bother trying, succumbing to his driving need to entertain with beautiful images and contrived emotion. He cheapens his grandiose motives and simplifies slavery, treating it as cut- and-dry genre piece. Characters are easy Hollywood stereotypes-"villains" like the Spanish sailors or zealous abolitionists are drawn one-dimensionally and sneered upon. And Spielberg can't suppress his gifted eye, undercutting normally ugly sequences, such as the terrifying slave passage, which is shot as a gorgeous, well-lit composition. At its core, Amistad is a traditional courtroom drama, centred by a tired, clichéd narrative: a struggling, idealistic young lawyer (Matthew McConaughey) fighting the crooked political system and saving helpless victims. Worse yet, Spielberg actually takes the underlying premise of his childhood fantasy, E. T. and repackages it for slavery. [+]

Based on the only surviving record of the infamous 1942 Wannsee Conference, the BBC/HBO produced Conspiracy reconstructs the two-hour meeting during which leading members of the SS and the Nazi government made definitive plans for the genocide of Europe's Jews. Sixteen men sit around a table and politely discuss the mechanics and ramifications of murdering millions. As SS General Reinhard Heydrich, overall architect of the Final Solution, Kenneth Branagh is brilliant, charming, manipulative and threatening, a cultured man seemingly without a soul. As his aid, SS Colonel Adolf Eichmann, Stanley Tucci is the incarnation of the banality of evil, an efficient and self-effacing bureaucrat in a fine performance marred only by a hint of the actor's American accent. Colin Firth is a powerful foil for Branagh as Dr Wilhelm Stuckart, author of Nazi Germany's race laws and a stickler for the rule of law, no matter how insane the law may have become; while David Threlfall makes a striking impression as the one man who comes closest to taking a moral stand, Dr Wilhelm Kritzinger. Directed in an elegantly controlled style by Frank Pierson, Conspiracy is the Janus face of the 1957 classic 12 Angry Men and a chilling companion to the BBC/HBO Churchill drama The Gathering Storm (2002). On the DVD: Conspiracy comes to DVD with text profiles of the four leading actors and the director and two featurettes, one running two minutes, the other four, neither of which is any more than an electronic press-kit. Sound is clear, perfectly good Dolby Surround, while the picture, though anamorphically enhanced at 16:9, is no more than adequate. -Gary S Dalkin.

British East Africa, 1923. Harry Rudbeck, an ambitious army officer, wants to build a road to bring the outside world to the backwater town where he is posted. Struggling to find ways around Foreign Service bureaucracy, he relies on his resourceful African clerk, Mr. Johnson. But when Johnson's can-do attitude runs afoul of British law, Rudbeck must make a painful decision. The film is deliberately paced, and the topnotch cinematography, art direction, and soundtrack all conspire to immerse you into the sweltering heat of East Africa. Maynard Eziashi gives winning performance as Johnson, a man so intent on becoming important that it destroys him. Like many of director Bruce Beresford's movies, Mister Johnson is a clear-eyed look at the way a collision of two cultures can lead to tragedy. Rudbeck must ultimately face the fact that his own ambition leads to the death of his friend, and Pierce Brosnan (as Rudbeck) and Beresford refuse to sentimentalise the man at all. Among Beresford's films, this is much closer in tone to Breaker Morant than to the kinder, gentler Driving Miss Daisy. [+]

Shackleton is not a biopic of the great Anglo-Irish explorer but a dramatisation of the failed trans-Antarctic expedition of 1914-16. As written and directed by Charles (Longtitude) Sturridge the production, filmed on real ice floes in Greenland, stays remarkably close to the facts, capturing the look of the surviving expedition photos of Frank Hurley (collected in the book South With Endurance) with great fidelity. Kenneth Branagh makes no attempt at an authentic accent but otherwise gives a powerful impression of a most commanding personality. When the expedition ship Endurance became locked in the Antarctic ice Shackleton vowed to bring every man home alive, and against virtually impossible odds, including a 700-mile journey in an open boat through some of the worst seas in the world, he did just that. This superlative mini-series realises the story with production values and cinematography which would not disgrace a big-budget feature (Hurley's own 1919 documentary film can be seen on video in South). Intense physical drama, strong performances and Adrian Johnston's fine score combine here to deeply moving effect, marred only a little by a rushed conclusion. With Roland Huntford, author of the definitive Shackleton biography, as production advisor, this easily stands as the benchmark for all future comparable films. -Gary S Dalkin.

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.

This curiously dry adaptation of Thomas Hardy's last novel, Jude is a good example of Michael Winterbottom's inability to make a particularly good film until Welcome to Sarajevo. Christopher Eccleston plays Jude Fawley, a self-educated stonemason who holds the dream of attending university but identifies with the working class. Kate Winslet is enlisted to play his cousin Sue Bridehead, a young woman with suffragette leanings and a position as a teacher's assistant. When the two enter into an illicit union, they are condemned to the margins of society, ultimately resulting in a horrifying tragedy. Winterbottom takes an oddly lean approach to Hardy's deterministic story, which leaves a viewer feeling short on emotion just when one needs it for the from-bad-to-worse third act. Welcome to Sarajevo proved that Winterbottom needs a whole other level of personal involvement to make a film that inspires him. Jude isn't one of those lucky films. -Tom Keogh, Amazon. com.

A heartfelt epic from Irish director Neal Jordan (The Crying Game, Interview with the Vampire), Michael Collins is the biography of the charismatic and controversial Irish rebel leader who led the fight for independence from Britain. Among the most beautiful and atmospherically photographed movies of the 1990s, Michael Collins is also a rich and intelligent study of the nature of politics and leadership: the IRA spokesman, full of fiery convictions, eventually gives way to the more mature negotiator who strives to reach a compromise solution and is politically undone in the process. Liam Neeson gives a grand and towering performance as Collins, but for all the character's legendary, heroic, or otherwise larger-than-life attributes, Jordan and Neeson also keep him human. This is sweeping historical filmmaking of the kind we haven't seen since the heyday of David Lean, but with Jordan's characteristic touches of complexity and ambivalence. -Jim Emerson.