Remember the outfit Cher wore to the Oscars when she won an Academy Award for her performance in this 1987 film? Ay-yi-yi. The actress' more retiring character in this infectious comedy leaps several psychological hurdles just giving her hair a permanent. But then the original screenplay of Moonstruck, by John Patrick Shanley (Joe Versus the Volcano), is a wonderful, gently satirical tale of an Italian-American family dealing with repression and dissatisfaction against a backdrop of cultural expectations. Cher is focused and funny as a widow who feels she should marry an older fellow (Danny Aiello), but then falls for his black-sheep brother (Nicolas Cage). Olympia Dukakis and Vincent Gardenia are perfect as her parents, and John Mahoney (of TV's Frasier) has a memorable, small role as a middle-aged man on the make who gets a lecture from Dukakis's character. Shanley's dialogue is comically stylised in a way that makes one appreciate how much words can inform an actor's performance. Taking its cues from him and director Norman Jewison (And Justice for All), the cast immerse themselves in a pool of hilariously operatic emotion. -Tom Keogh.

Based on Dodie Smith's much-loved novel, I Capture the Castle turns out to be an equally lovely film, delightful and surprisingly wise. When her family moves into a glamorous castle in the countryside, Cassandra (Ramola Garai) imagines great things will happen. But the decaying castle loses its appeal as her novelist father (Bill Nighy) develops writer's block and her mother dies of cancer. From this sad beginning, I Capture the Castle becomes an utterly engaging coming-of-age story as 17-year-old Cassandra and her older sister Rose (Rose Byrne) struggle to win the attentions of their new American landlord (Henry Thomas)-but when everything goes the way Cassandra wishes, her hopes fall apart. Garai's wonderful performance carries the audience through bittersweet discoveries about life and adulthood with hope and yearning. The entire cast-also featuring Tara Fitzgerald and Marc Blucas-is superb. -Bret Fetzer.

She's the One is actor-writer-director Edward Burns' second film, following the widely acclaimed The Brothers McMullen. Given a slightly larger budget to play with ($3m as against his debut project's $25,000), Burns revisits much the same territory-love and sibling rivalry within a New York Irish-American family-but rather more expansively. This time, too, he can run to a few stars-in-the-making (Cameron Diaz, Jennifer Aniston, and John Mahoney from Frasier) to jazz up his cast of relative unknowns. Burns himself plays Mickey, a cab-driver in the Big Apple, with Mike McGlone as his yuppie stockbroker brother, and Maxine Bahns as Hope, the girl Mickey falls for and impulsively marries, much to the romantic delight of Francis' neglected wife Renee (Aniston). Francis, meanwhile, is having a clandestine affair with Heather (Diaz), Mike's former girlfriend-something Mike has yet to learn. Dispensing flawed wisdom and generally muddying the waters yet further is the lads' blunt-spoken father (Mahoney). Plotwise that's about it. Burns relies on his appealing cast and some amiably barbed repartee to hold our interest in what's essentially a dialogue-driven movie. He makes shrewd and sometimes unexpected use of his New York locations, too-it's a fair bet most people's mental image of Brooklyn wouldn't include a waterfront fishing community. This is a good-natured, slightly old-fashioned movie whose benevolent view of the battle of the sexes (where the women are invariably smarter than the men) never digs too deep or hits too hard. [+]

The Bachelor got critically slammed when it played in cinemas, probably because reviewers couldn't help comparing it with the movie on which it's based, the brilliant Buster Keaton comedy Seven Chances. But on its own terms, The Bachelor is a modest and enjoyable picture about Jimmie (Chris O'Donnell), a happily single young man who suddenly gets an ultimatum from his grandfather's will: marry by his 30th birthday or lose an inheritance of 100 million US dollars. This is revealed the day before that very birthday. Unfortunately, Jimmie had already proposed to his girlfriend Anne (Renee Zellweger) and been turned down; she can see in his eyes that he isn't ready to get married and refuses to accept him until he is. So Jimmie needs to find a bride-fast. Though the commitment-shy man is a hoary clichè, The Bachelor successfully exaggerates Jimmie's fears to comic proportions. O'Donnell is his usual affable self, but it's Zellweger who seizes every scene she's in and makes something really enjoyable out it. The movie's greatest weakness is that she's such a small part of the second half. Still, there's good supporting performances from Hal Holbrook, Ed Asner, James Cromwell and Marley Shelton (as Zellweger's sister), and Peter Ustinov and Brooke Shields both have very funny scenes. The Bachelor skirts some dangerously chauvinistic territory at times, but by and large it's a pleasant comedy with some genuine good humour. [+]

Nora Ephron wrote the brisk screenplay for this 1989 romantic comedy, director Rob Reiner made a nicely glossy New York story (very much in a Woody Allen vein) out of it, and Billy Crystal's unstoppable charm made it something really special. Crystal and Meg Ryan play longtime platonic friends who keep dancing around their deeper feelings for one another. Bruno Kirby and Carrie Fisher are their respective pals who fall in love and get married. Ryan doesn't get a lot of funny material apart from her famous faked orgasm scene, but her performance is typically alive and intuitive, and she more than holds her own with Crystal's comic motor mouth and sweet sentimentality. Reiner is on comfortable ground, liberated from the burden of making serious statements in the lead-footed manner of subsequent features. -Tom Keogh.

Pauline Collins repeats her stage success as the character Shirley Valentine, a married woman who decides in her middle years that she wants more out of life. Leaving her spouse behind, she heads to Greece, where she grows close to a low-key local bloke (Tom Conti). Collins and director Lewis Gilbert (Educating Rita) choose to let the character, as she did in the play, speak directly to the audience at times and the gamble works in terms of creating a gentle, intimate atmosphere. Conti is a bonus, a warm presence and funny to boot. -Tom Keogh, Amazon. com.

Barbra Streisand's self-absorbed remake of a 1958 French film stars Jeff Bridges as a college professor tired of sexual politics. He makes a deal with a dowdy colleague (Streisand) that they provide companionship for one another, with no thought of getting into bed. She agrees but soon becomes frustrated, the agreement only reinforcing her unfulfilled desire to have a complete relationship with a man. Mimi Rogers is on hand as Babs's striking sister, and Lauren Bacall received an Oscar nomination for her role as the heroine's selfish mother. The Mirror Has Two Faces is OK, but it becomes an irritating vanity piece for Streisand (who directed as well as stars). Her character constantly gazes upon her own reflection and is told at least a dozen times, one way or another, just how attractive she is. One wants to shout out, we get it already-you're pretty! -Tom Keogh.

A sleeper hit when released in 1992, this romantic fantasy works as a comedic adventure and a gentle tearjerker thanks to Mel Gibson's appealing performance. He plays Daniel, a daring test pilot who is deeply distraught by the apparent death of his girlfriend, Helen, in 1939. Feeling little reason to live, he volunteers for a pioneering cryogenics experiment and is thawed out 50 years later by two young boys. They bring the confused pilot home to Nat's single mom, Claire (Jamie Lee Curtis). There's a hint of romance, but Daniel desperately needs to know if Helen really died in 1939, and he discovers that love has a way of surviving a half-century leap in time. The premise of Forever Young is hokey and certain plot details are conveniently ignored, but Gibson, Curtis, and Elijah Wood (as Nat) hold it together with irresistible charm and just the right balance of fantasy and drama. -Jeff Shannon.

Based on Neil Simon's own play, 1967's Barefoot in the Park is a perennially joyous film starring carefree Jane Fonda and staid lawyer Robert Redford as young newlyweds setting up home in Greenwich Village. Although the opening credits are fragrantly idyllic (aided by Neal Hefti's soundtrack, you can almost smell the blossom in Central Park), the film doesn't idealise apartment living in New York, à la Friends, far from it: Fonda and Redford's apartment is up several flights of stairs; there's a hole in the skylight and the bedroom is the size of a cupboard. All of this puts some strain on the marriage. When Fonda introduces fellow free spirit and ageing, behind-on-the-rent Lothario (Charles Boyer) to her somewhat inhibited mother (Mildred Natwick), the hapless Redford in particular is forced to come to terms with his own inhibitions. Although the second half of the film moves at a less cracking pace than the first, Barefoot in the Park is as exhilarating as a romantic weekend city break. Directo r Gene Saks, scriptwriter Neil Simon and composer Hefti would regroup in 1968 to make the similarly wonderful The Odd Couple. On the DVD: With the aid of filtering, the DVD recaptures the almost unreal colour quality common to films of this period, while the sound is faithful to the nuances of Hefti's soundtrack. The special features are miserly-subtitles, a choice of languages and the original trailer, though this at least conveys the engaging naiveté of the period-("The rarest, unsquarest, happiest motion picture in many a year!"). -David Stubbs.

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.

An unpretentious Brit-flick distinguished by a great cast, This Year's Love is writer-director David Kane's wry, funny study of six singletons in search of something-possibly love, possibly just sex-that will help them make sense of an untidy world. Aside from the acting, the film's strongest feature is its unflinching realism. The setting is North London's Camden Lock, an area that is in equal parts ultra-trendy and horrendously squalid. The characters reflect the locale: a circle of youthful drop-outs, wannabes and never-have-beens united in their common desire to surmount loneliness and find that elusive "perfect match". The central figures are newlyweds Danny and Hannah (the wonderful Douglas Henshall and Catherine McCormack) and the film in essence concerns itself with the fallout from the spectacular and rapid disintegration of their marriage. Danny first hooks up with cleaner-cum-nightclub singer Mary (a marvellously self-deprecating Kathy Burke), while Hannah finds lecherous womaniser Cameron (an unwashed Dougray Scott). Cameron's flatmate Liam (Ian Hart) fails to impress posh single mum Sophie (Jennifer Ehle in dreadlocks), who goes on to reject Danny and Cameron in turn, while Liam becomes dangerously obsessed by Hannah then Mary. So the merry-go-round of relationship swapping, unlikely coincidences and bittersweet life-lessons turns full circle. David Kane's comic dialogue is witheringly sharp, the situations (aside from all the coincidental meetings) are well-observed and the characters sympathetically three-dimensional (helped in no small part by the quality of the ensemble cast). The frequently hilarious comedy is tempered by an underlying despair: if it's not exactly Brassed Off or The Full Monty for neurotic, self-obsessed metropolitans, it's a film that's at least happy to exist in the same genre and achieves the same poignant empathy with its characters. [+]

This underrated comedy-drama by Andrew Fleming may one day be seen as a reflection of the muddled sexual politics of the 1990s. Three dissimilar college students played by Lara Flynn Boyle, Stephen Baldwin and Josh Charles become unlikely best friends, forging a relationship so exclusive it actually troubles onlookers. From the inside, however, the trio are enjoying the safety of their own bond and exploring varying needs of love and sexual adventurousness. Erotic, bawdy, sensuous, mysterious, and nostalgic, Threesome can make a viewer envy the state of grace these characters have found with each other. All three actors have never been better. -Tom Keogh An underrated comedy-drama by Andrew Fleming Threesome may one day be seen as a reflection of the muddled sexual politics of the 1990s. Three dissimilar college students played by Lara Flynn Boyle, Stephen Baldwin and Josh Charles become unlikely best friends, forging a relationship so exclusive it actually troubles onlookers. From the inside, however, the trio are enjoying the safety of their own bond and exploring varying needs of love and sexual adventurousness. Erotic, bawdy, sensuous, mysterious, and nostalgic, the film can make a viewer envy the state of grace these characters have found with each other. All three actors have never been better. [+]