Stunning computer-generated special effects are the main selling point of Dragon Wars, a Korean-made fantasy about ancient monsters wreaking havoc in modern Los Angeles. The complex plot, based on legend, pits an evil serpent and its demonic army against a young woman (Amanda Brooks) who is the reincarnation of a young woman imbued with the heaven-sent power to transform the creature into an all-powerful dragon. Jason Behr (The Grudge) is the reporter who discovers that he too is a reincarnated warrior bound to prevent Brooks and her power from falling into the wrong hands. The elaborate premise isn't helped by the script, which delivers absurd dialogue and situations with child-like naivete. Thankfully, the presence of Robert Forster (as another reincarnated hero) and solid actors like Elizabeth Pena, Craig Robinson and Chris Mulkey, help smooth over the frequent moments of unintentional humour. But this won't matter much to fantasy fans and (especially) younger viewers, who will tune in for the film's riot of special effects. Director Shim Hyung-rae and his talented team offer scene after scene of exceptional CGI creations, most notably an aerial dogfight between helicopters and winged lizards in the skies above downtown L. A. , and a climactic battle which makes good on the title's promise. The DVD includes a making-of featurette which outlines Shim's four-year struggle to complete the project, as well as storyboard galleries and an animatics display. [+]

Forget any off-screen impressions you may have of Mel Gibson, and experience Apocalypto as the mad, bloody runaway train that it is. The story is set in the pre-Columbian Maya population: one village is brutally overrun, its residents either slaughtered or abducted, by a ruling tribe that needs slaves and human sacrifices. We focus on the capable warrior Jaguar Paw (Rudy Youngblood), although Gibson skillfully sketches a whole population of characters-many of whom don't survive the early reels. Most of the film is set in the dense jungle, but the middle section, in a grand Mayan city, is a dazzling triumph of design, costuming, and sheer decadent terror. The movie itself is a triumph of brutality, as Gibson lets loose his well-established fascination with bodily mortification in a litany of assaults including impalement, evisceration, snakebite, and bee stings. It's a dark, disgusted vision, but Gibson doesn't forget to apply some very canny moviemaking instincts to the violence-including the creation of a tremendous pair of villains (strikingly played by Raoul Trujillo and Rodolfo Palacias). The film is in a Maya dialect, subtitled in English, and shot on digital video (which occasionally betrays itself in some blurry quick pans). Amidst all the mayhem, nothing in the film is more devastating than a final wordless exchange of looks between captured villager Blunted (Jonathan Brewer) and his wife's mother (Maria Isabel Diaz), a superb change in tone from their early relationship. Yes, this is an obsessive, crazed movie, but Gibson knows what he's doing. -Robert Horton.

Do you know anyone who hasn't seen this movie? A box-office smash when released in 1993, this spectacular update of the popular 1960s TV series stars Harrison Ford as a surgeon wrongly accused of the murder of his wife. He escapes from a prison transport bus (in one of the most spectacular stunt-action sequences ever filmed) and embarks on a frantic quest for the true killer's identity, while a tenacious U. S. marshal (Tommy Lee Jones, in an Oscar-winning role) remains hot on his trail. Director Andrew Davis hit the big time with this expert display of polished style and escalating suspense, but it's the antagonistic chemistry between Jones and Ford that keeps this thriller cooking to the very end. In roles that seem custom-fit to their screen personas, the two stars maintain a sharply human focus to the grand-scale manhunt, and the intelligent screenplay never resorts to convenient escapes or narrative shortcuts. Equally effective as a thriller and a character study, The Fugitive is a Hollywood blockbuster that truly deserves its ongoing popularity. -Jeff Shannon The Fugitive could have been just another action movie, compelling in the cinema but losing impact on the small screen, were it not for two things: it has a brilliant script and a very strong line-up of actors. When eminent surgeon Dr Richard Kimble is wrongly convicted of his wife's brutal murder (let's face it-his story about doing battle with a one-armed intruder is hardly plausible), he's sentenced to death. Fate, however, gives him a second chance when his prison bus is involved in an accident with a train and he escapes, determined to find the real killer and clear his name. [+]

This strange, 1985 experiment by Ridley Scott (Blade Runner) starred the up-and-coming Tom Cruise in a fairy-tale world of dwarfs and unicorns and demons. After the horn of a unicorn is broken, darkness and winter descend upon the world. Cruise's character, helped along by a magic sprite played by David Bennent (The Tin Drum), descends into hell to save paradise. This movie is almost a classic case of art direction gone amok. The somewhat amorphous Cruise doesn't lend much dramatic focus or artistic definition, but the drama between Tim Curry's satanic majesty and Mia Sara's character, who becomes a sort of princess of the netherworld, is pretty captivating. A mixed experience all around that makes one wish it had been more successful. -Tom Keogh.

A richly-acclaimed World War II drama, and one that deserved the many plaudits it garnered, Band Of Brothers remains as compelling, gripping and moving as it was when it first appeared over half a decade ago. And now it makes a very welcome debut in high definition. Across ten haunting episodes, Band Of Brothers follows the real-life story of the American army?s Easy Company, an elite paratrooper regiment, from their initial training through to the very end of the war. Along the way, not only do Easy Company take part in some of the most infamous battles and events of the War, but they also suffer many, often brutal losses. And Band Of Brothers pulls no punches in putting those moments across on screen. But that?s not, ultimately, what Band Of Brothers is about. At it's heart, this is the tale of a group of men relying on one another to get them through unthinkable situations. And this camaraderie is brilliantly put across by the generally unknown cast of actors, many of whom turn in outstanding performances here. The quality production values are sustained behind the camera, as Band Of Brothers? episodes are directed by the likes of Tom Hanks, Phil Alden Robinson (Field of Dreams) and David Leland (The Devil Wears Prada). The show gives all the impression that little expense was spared in depicting the right visual look, and the results are on screen to be admired. [+]

HBO has already built itself up a pretty-much unrivaled global reputation for the quality of some of its television dramas. But Deadwood, surely, stands at the top of the pile (along with HBO stablemate The Wire) as a staggering example of just how good modern day television can be. Set in 1876, the town of Deadwood finds itself host to a mixture of rounded, three-dimensional characters. Given that it’s in gold-rush territory, it’s little surprise that it attracts a large number of undesirables, with an ongoing battle between the lawmakers and breakers. But arguably none come more undesirable than saloon owner Al Swearengen, the morally corrupt man who effectively owns the town. Memorably portrayed, in a flat-out career-best performance, by Ian McShane, Swearengen is the troubled heart of Deadwood, and is one of the very best characters that HBO has ever brought to the screen. It's little wonder that the fabulous supporting cast have to be on top of their game to even attempt to match McShane's towering portrayal. If there's a slight grumble about this three-season box set, bringing together every episode of Deadwood, it's that the show doesn’t really come to an end particularly well. There's an argument that it suits the nature of the programme, however, although it doesn't stop you wanting a slightly tidier conclusion. Yet all considered, television drama simply doesn’t come much better than Deadwood, and you’ll struggle to find anything on your shelf to match it. [+]

From a match made in heaven comes a movie spawned in hell! From Dusk Till Dawn sees young hotshot director Robert Rodriquez (El Mariachi, Desperado) team up with Pulp Fiction auteur Quentin Tarantino (offering his services as writer and costar) to make this outrageous, no-holds-barred hybrid of high-octane crime and gruesome horror. Tarantino plays Richard Gecko, a borderline psychopath who breaks his career-criminal brother, Seth (George Clooney), out of prison, after which they rob a bank and leave a trail of dead and wounded in their bloody wake. Then they hijack a mobile home driven by a former Baptist minister (Harvey Keitel) who quit the church after his wife's death and hit the road with his two children (played by Juliette Lewis and Ernest Liu). Heading to Mexico with their hostages, the infamous Gecko brothers arrive at the Titty Twister bar to rendezvous for a money drop, but they don't realise that they've just entered the nocturnal lair of a bloodthirsty gang of vampires! With not-so-subtle aplomb, Rodriguez and Tarantino shift into high gear with a non-stop parade of gore, gunfire and pointy-fanged mayhem featuring Salma Hayek as a snake-charming dancer whose bite is much worse than her bark. If you're a fan of Tarantino's lyrical dialogue and pop-cultural wit, you'll have fun with the road-film half of this supernatural horror-comedy, but if your taste runs more to exploding heads and eyeballs, sloppy entrails and morphing monsters, the second half provides a connoisseur's feast of gross-out excess. -Jeff Shannon, Amazon. comOn the DVD: the DVDs lavish features on us. The outtakes and deleted scenes are more of the same-exploding bellies, pus, blood and naked women with large teeth. The documentary "Full Tilt Boogie" is entertaining enough; the row with the unions, which it faithfully records, raises real issues about independent filmmakers and their work force. There are two music videos, a stills gallery, a reasonably acute commentary by Rodriguez and Tarantino and material about the art direction. [+]

Prison Break season two simply shouldn't work. Having effectively concluded the story arc at the end of season one, there was real cynicism as to whether the pace, energy and excitement could possibly transfer to more episodes. Yet that's overlooking the sheer presence of the fascinating, twisted bunch of characters we got to know, love, hate and jeer at throughout the show's maiden season. And in many ways, the second series of Prison Break evolves into a logical extension. If you've not seen series one, look away now. With Michael and Lincoln Burroughs, along with the other escapees, now on the run, the focus switches to keeping out of prison rather than trying to break into it (not for nothing does one of the show's creators cite The Fugitive as an influence). That's no easy task though. On top of the media interest in them, there are the political forces behind the scenes that were slowly developed in the maiden season, Once you add into the cauldron the simmering relationships between the escapees themselves, and the feeling of distrust that underpins them, the second season of Prison Break falls into place. And do you know what? It's genuinely as exciting as it was first time round. Sure, the show takes the occasional narrative shortcut, and shows willingness to test the boundaries of realism as much as it can. [+]

After the Lord of the Rings trilogy, Elijah Wood could've opted for further big budget epics, but took a sharp left turn with this better-than-average B-movie. Released just after Everything is Illuminated, another offbeat entry, Wood plays journalism student Matt Buckner. In the prologue, he's expelled from Harvard when his over-privileged roommate sets him up to take the fall for his own misdeeds. With nowhere to go, Matt decides to visit his sister, Shannon (Claire Forlani), in London. He's already got a chip on his shoulder when he falls under the sway of Shannon's brother-in-law, Pete (Charlie Hunnam), head of West Ham's football "firm," the Green Street Elite. Matt soon gets caught up in their thuggish antics—to tragic effect. In her feature debut, German-born Lexi Alexander makes a mostly convincing case for the attractions of violence to the emotionally vulnerable, as opposed to the emotionally numb pugilists of the more satirical Fight Club. Unlike David Fincher (by way of Chuck Palahniuk), she plays it straight, except for the stylised fight sequences. Consequently, humour is in short supply, but the young Brit cast, especially Leo Gregory as the surly Bovver, is charismatic and Wood makes his character as believable as possible, i. e. [+]

Stanley Kubrick was only 31 years old when Kirk Douglas (star of Kubrick's classic Paths of Glory) recruited the young director to pilot this epic saga, in which the rebellious slave Spartacus (played by Douglas) leads a freedom revolt against the decadent Roman Empire. Kubrick would later disown the film because it was not a personal project-he was merely a director-for-hire-but Spartacus remains one of the best of Hollywood's grand historical epics. With an intelligent screenplay by then-blacklisted writer Dalton Trumbo (from a novel by Howard Fast), its message of moral integrity and courageous conviction is still quite powerful, and the all-star cast (including Charles Laughton in full toga) is full of entertaining surprises. Fully restored in 1991 to include scenes deleted from the original 1960 release, the full-length Spartacus is a grand-scale cinematic marvel, offering some of the most awesome battles ever filmed and a central performance by Douglas that's as sensitively emotional as it is intensely heroic. Jean Simmons plays the slave woman who becomes Spartacus's wife, and Peter Ustinov steals the show with his frequently hilarious, Oscar-winning performance as a slave trader who shamelessly curries favor with his Roman superiors. The restored version also includes a formerly deleted bathhouse scene in which Laurence Olivier plays a bisexual Roman senator (with restored dialogue dubbed by Anthony Hopkins) who gets hot and bothered over a slave servant played by Tony Curtis. These and other restored scenes expand the film to just over three hours in length. Despite some forgivable lulls, this is a rousing and substantial drama that grabs and holds your attention. Breaking tradition with sophisticated themes and a downbeat (yet eminently noble) conclusion, Spartacus is a thinking person's epic, rising above mere spectacle with a story as impressive as its widescreen action and Oscar-winning sets. -Jeff Shannon.

Winner of four Academy Awards, including best picture, director, supporting actor and best editing, Clint Eastwood's 1992 masterpiece stands as one of the greatest and most thematically compelling Westerns ever made. "The movie summarised everything I feel about the Western," said Eastwood at the time of the film's release. "The moral is the concern with gunplay. " To illustrate that theme, Eastwood stars as a retired, once-ruthless killer-turned-gentle-widower and hog farmer. He accepts one last bounty-hunter mission-to find the men who brutalised a prostitute-to help support his two motherless children. Joined by his former partner (Morgan Freeman) and a cocky greenhorn (Jaimz Woolvett), he takes on a corrupt sheriff (Oscar winner Gene Hackman) in a showdown that makes the viewer feel the full impact of violence and its corruption of the soul. Dedicated to Eastwood's mentors Sergio Leone and Don Siegel and featuring a colourful role for Richard Harris, Unforgiven is arguably Eastwood's crowning directorial achievement. -Jeff Shannon Set in Wyoming in 1881 during the sunset years of the Wild West, 1992's Unforgiven was directed by and starred Clint Eastwood, and is generally considered to be the towering achievement of his twilight years. Eastwood plays William Munny, once a vicious, whisky-swilling bounty hunter, brought to heel by his marriage to a good woman. When she dies, he must raise two children and run a hog farm alone, something which we see him make a comically poor fist of doing. [+]

Cockney boys Tom, Soap, Eddie and Bacon are in a bind; they owe seedy criminal and porn king "Hatchet" Harry a sizeable amount of cash after Eddie loses half a million in a rigged game of poker. Hot on their tails is a thug named Big Chris who intends to send them all to the hospital if they don't come up with the cash in the allotted time. Add into the mix an incompetent set of ganja cultivators, two dimwitted robbers, a "madman" with an afro, and a ruthless band of drug dealers and you have an astonishing movie called Lock, Stock and Two Smoking Barrels. Before the boys can blink, they are caught up in a labyrinth of double-crosses that lead to a multitude of dead bodies, copious amounts of drugs, and two antique rifles. Written and directed by talented newcomer Guy Ritchie, this is one of those movies that was destined to become an instant cult classic à la Reservoir Dogs. Although some comparisons were drawn between Ritchie and Quentin Tarantino, it would be unfair to discount the brilliant wit of the story and the innovative camerawork that the director brings to his debut feature. Not since The Krays has there been such an accurate depiction of the East End and its more colourful characters. Indicative of the social stratosphere in London, Lock, Stock and Two Smoking Barrels is a hilarious and at times touching account of friendships and loyalty. The director and his mates (who make up most of the cast) clearly are enjoying themselves here. This comes across in some shining performances, in particular from ex-footballer Vinnie Jones (Big Chris) and an over-the-top Vas Blackwood (as Rory Breaker), who very nearly steals the show. [+]