Thematically ambitious and emotionally complex, Clint Eastwood's Flags of Our Fathers is an intimate epic with much to say about war and the nature of heroism in America. Based on the non-fiction bestseller by James Bradley (with Ron Powers), and adapted by Million Dollar Baby screenwriter Paul Haggis (Jarhead screenwriter William Broyles Jr. wrote an earlier draft that was abandoned when Eastwood signed on to direct), this isn't so much a conventional war movie as it is a thought-provoking meditation on our collective need for heroes, even at the expense of those we deem heroic. In telling the story of the six men (five Marines, one Navy medic) who raised the American flag of victory on the battle-ravaged Japanese island of Iwo Jima on February 23rd, 1945, Eastwood takes us deep into the horror of war (in painstakingly authentic Iwo Jima battle scenes) while emphasizing how three of the surviving flag-raisers (played by Adam Beach, Ryan Phillippe, and Jesse Bradford) became reluctant celebrities - and resentful pawns in a wartime publicity campaign - after their flag-raising was immortalized by Associated Press photographer Joe Rosenthal in the most famous photograph in military history. As the surviving flag-raisers reluctantly play their public roles as "the heroes of Iwo Jima" during an exhausting (but clearly necessary) wartime bond rally tour, Flags of Our Fathers evolves into a pointed study of battlefield valor and misplaced idolatry, incorporating subtle comment on the bogus nature of celebrity, the trauma of battle, and the true meaning of heroism in wartime. Wisely avoiding any direct parallels to contemporary history, Eastwood allows us to draw our own conclusions about the Iwo Jima flag-raisers and how their postwar histories (both noble and tragic) simultaneously illustrate the hazards of exploited celebrity and society's genuine need for admirable role models during times of national crisis. Flags of Our Fathers defies the expectations of those seeking a more straightforward war-action drama, but it's richly satisfying, impeccably crafted film that manages to be genuinely patriotic (in celebrating the camaraderie of soldiers in battle) while dramatising the ultimate futility of war. Eastwood's follow-up film, Letters from Iwo Jima, examines the Iwo Jima conflict from the Japanese perspective. Critically hailed as an instant classic, Clint Eastwood's Letters from Iwo Jima is a masterwork of uncommon humanity and a harrowing, unforgettable indictment of the horrors of war. In an unprecedented demonstration of worldly citizenship, Eastwood (from a spare, tightly focused screenplay by first-time screenwriter Iris Yamashita) has crafted a truly Japanese film, with Japanese dialogue (with subtitles) and filmed in a contemplative Japanese style, serving as both complement and counterpoint to Eastwood's previously released companion film Flags of Our Fathers. [+]

The 1970s were difficult years for the great Japanese director Akira Kurosawa. Having been unable to secure full Japanese backing for his epic project Kagemusha, the 70-year-old master found American support from George Lucas and Francis Ford Coppola, who served as co-executive producers (through 20th Century Fox) for this magnificent 1980 production-to that date the most expensive film in Japanese history. Set in the late-16th century, Kagemusha centres on the Takeda clan, one of three warlord clans battling for control of Japan at the end of the feudal period. When their leader Lord Shingen (Tatsuya Nakadai) is mortally wounded in battle, he orders that his death be kept secret and that his "kagemusha"-or "shadow warrior"-take his place for a period of three years to prevent clan disruption and enemy takeover. The identical double is a petty thief (also played by Nakadai) spared from execution due to his uncanny resemblance to Lord Shingen-but his true identity cannot prevent the tides of fate from rising over the Takeda clan in a climactic scene of battlefield devastation. Through stunning visuals and meticulous attention to every physical and stylistic detail, Kurosawa made a film that restored his status as Japan's greatest filmmaker, and the success of Kagemusha enabled the director to make his 1985 masterpiece, Ran. -Jeff Shannon.

In Arthur Penn's adaptation of Thomas Berger's novel Little Big Man, Dustin Hoffman stars as Jack Crabb, the only white survivor of the Battle of Little Big Horn. Giving a bravura performance, Hoffman plays Jack from teen years into old age in this picaresque fable of the Old West. Jack's story is a fantastic one: captured by Indians as a boy, reared as an Indian, shuttling back and forth between the white and Indian worlds. In the process, he befriends everyone from Wild Bill Hickock to George Armstrong Custer and is a gunslinger, a snake-oil salesman and an Army scout. This is a solid blend of comedy and tragedy, making a strong statement about America's treatment of Native Americans without sermonising. A terrific cast includes Faye Dunaway, Martin Balsam and Richard Mulligan, but this show is all Hoffman's. -Marshall Fine.

A loose (very loose) Japanese TV adaptation of Wu Ch'eng-en's 16th-century collection of Chinese fables, Monkey! was re-dubbed into English in the early 1980s and became required viewing for a whole generation of school children. The titular monkey (played with great enthusiasm, not to mention athleticism by Japanese comic actor and former rock star Masaaki Sakai) accompanies boy-monk Tripitaka (confusingly, a pretty actress called Masako Natsume) on his/her quest for the Indian Sutras. They pick up Sandy (Shiro Kishibe), Pigsy (Toshiyuki Nishida) and a dragon that becomes a horse along the way. The appeal of Monkey! is easier to experience than explain. It's an occasionally surreal blend of Oriental fable, knock-about martial arts, pop Buddhism and slapstick comedy. The frequent comic fight scenes are accompanied by a 70s disco-fusion soundtrack, and a narrator (English voice: Frank Duncan) uses gaps in the action to deliver inscrutable snippets of wisdom ("Even a starving camel is still bigger than a horse", "Does love mean labour even for the carp-hearted?"). Best of all, though, is the dialogue: without regard to any lip-synch niceties the English script (by David Weir) is full of idiomatic delights, jokes and double entendres. All are delivered by British actors in hilarious cod-Japanese accents (distinguished thesp Miriam Margolyes is the voice of Tripitaka). Bad special effects crown the show's cheesy, retro appeal. On the DVD: Monkey! volume 1 on DVD features the same first three episodes as the VHS incarnation-"Monkey Goes Wild About Heaven", "Monkey Turns Nursemaid" and "The Great Journey Begins"-but also a bonus previously unseen episode from the second season, "You Win Some You Lose Some", which is subtitled not dubbed, so if nothing else is an opportunity to hear the actors' real voices. [+]

Handsome young men whack each other in the face with sticks and learn about life in Youngblood, an enjoyably silly hockey movie. Rob Lowe stars as Dean Youngblood, an American rookie who's been given a shot on a Canadian Junior League hockey team. Sure, he can skate, but can he take a punch? This coming-of-age story is about learning the beauty of vicious hockey fights. No, really. Containing both young-bucks-in-the-locker-room shots and plenty of hockey violence, Youngblood is a surprisingly entertaining cupcake of a movie-there's not much nourishment, but it sure tastes good. Watch for Patrick Swayze as the team's leader and Keanu Reeves in his first film role as the French-Canadian goalie. -Ali Davis.

Good enough to suggest long-term franchise potential, The Bourne Supremacy is a thriller fans will appreciate for its well-crafted suspense, and for its triumph of competence over logic (or lack thereof). Picking up where The Bourne Identity left off, the action begins when CIA assassin and partial amnesiac Jason Bourne (a role reprised with efficient intensity by Matt Damon) is framed for a murder in Berlin, setting off a chain reaction of pursuits involving CIA handlers (led by Joan Allen and the duplicitous Brian Cox, with Julia Stiles returning from the previous film) and a shadowy Russian oil magnate. The fast-paced action hurtles from India to Berlin, Moscow, and Italy, and as he did with the critically acclaimed Bloody Sunday, director Paul Greengrass puts you right in the thick of it with split-second editing (too much of it, actually) and a knack for well-sustained tension. It doesn't all make sense, and bears little resemblance to Robert Ludlum's novel, but with Damon proving to be an appealingly unconventional action hero, there's plenty to look forward to. -Jeff Shannon.

The glowering brutality that is aikido head-banger Steven Seagal's substitute for a star persona at least gives us a rancid taste of authenticity in Marked for Death, a cookie-cutter action picture. This glum lug seems really to enjoy hurting people; he snaps limbs and shatters noses with visible relish. Pitted against a gang of Jamaican gangsters who invade his (white ethnic) Chicago neighbourhood and threaten his family, retired DEA agent John Hatcher sets out to solve the case with robotic efficiency, kicking butt in just about every scene. Not quite as pudgy in this 1990 outing as he became a few films later, Seagal looks like the genuine, lethal article in the fight sequences but like a hopeless amateur when he tries to act his way out of the waterlogged-paper-bag of a script. So what else is new? The one bright spot here is Basil Wallace, a mostly unsung actor who throws himself into the showy role of the Rasta gang-boss Screwface, a garishly scarred psycho with piercing ice-blue eyes. -David Chute, Amazon. com.

Within a matter of minutes, you know how this one's going to play out. Goal tells the tale of Santiago Nunez, a Mexican living in Los Angeles. His family are poor, his father has ideas for what he wants him to do, and yet he has an incredible football talent. So when a British scout sees him play, and cobbles together a trial for him at Newcastle United, he has to choose between his father's plans and the chance to play football thousands of miles away. It wouldn't be much of a film if he chose the former, and truthfully, you'll not find too many surprises where Goal is concerned. It sticks fairly rigidly to the sporting movie template that's been set down since the days of Rocky, and, given that this is the first in a trilogy, it's hardly surprising that it doesn't take too many risks. And yet, as a piece of entertainment, it works absolutely fine. From the suitably convincing football action, the inevitable distractions of a footballer's life and unintentionally hilarious cameos from the likes of David Beckham, Goal is fun, pure and simple. The trailer for the sequel, included on the DVD, promises even more of the same. Bring it on…-Simon Brew.