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. [+]

Just when you though that the Batman franchise was dead and buried-certainly after the abomination that was 1997's Batman & Robin-along comes director Christopher Nolan to brilliantly bring it all back to life with the astonishingly strong Batman Begins. Nolan, whose curriculum vitae already features Memento and Insomnia, focuses his attention where films in the franchise haven't gone before-by examining that character of Batman himself. Thus, the story here is the genesis of the character, from the death of Bruce Wayne's parents, harrowing training with the mysterious League of Shadows, right through to the Dark Knight's first appearances on the street of a crime-ridden, moody Gotham City. Nolan plays several trump cards in his take on the Batman legacy, and none pay off quite so handsomely as his casting. Christian Bale is an immense force in the dual role of Bruce Wayne and Batman, bringing a brooding anger and genuine unease to the Batsuit. He's backed with strong turns from Tom Wilkinson, Michael Caine, Liam Neeson, Gary Oldman, and Cillian Murphy as the unstable Scarecrow. In spite of a last twenty minutes that can't quite sustain the tone of what's gone before, Batman Begins is a major achievement, and one of the finest superhero movies to date. Easily the best of the Dark Knight's big screen adventures, it manages to be a blockbuster film that's unpredictable, compulsive, superb to look at and well worth many repeated viewings. A staggering achievement, particularly considering the state the Batman franchise had got itself into. -Simon Brew.

A major British hit, a lorryload of laughs and some sparkling action? We'll have some of that. It's fair to say that Hot Fuzz proves that Simon Pegg and Edgar Wright's brilliant Shaun Of The Dead was no one-off, serving up a superbly crafted British homage to the Hollywood action movie. Deliberately set in the midst of a sleepy, quaint English village of Sandford, Pegg's Nicholas Angel is sent there because, bluntly, he's too good at his job, and he's making his city colleagues look bad. The proverbial fish out of water, Angel soon discovers that not everything in Sandford is quite as it seems, and joins forces with Nick Frost's lumbering Danny Butterman to find out what's what. Hot Fuzz then proceeds to have a rollicking good time in both tipping its hat to the genre films that are clearly its loving inspiration, and coming up with a few tricks of its own. It does comedy better than action, with plenty of genuine laugh-out-loud moments, but it's no slouch either when the tempo needs raising. One of the many strong cards it plays is its terrific cast, which includes former 007 Timothy Dalton, Bill Nighy, Bill Bailey, Paddy Considine, Edward Woodward and Jim Broadbent. Hot Fuzz, ultimately, just falls short of Shaun Of The Dead, but more than does enough to warrant many, many repeat viewings. It's terrific fun, and in the true hit action movie style, all-but-demands some form of sequel. That said, with Pegg and Wright now with two excellent, and suitably different, genres ticked off, it'll be interesting to see what they do next. [+]

A major British hit, a lorryload of laughs and some sparkling action? We'll have some of that. It's fair to say that Hot Fuzz proves that Simon Pegg and Edgar Wright's brilliant Shaun Of The Dead was no one-off, serving up a superbly crafted British homage to the Hollywood action movie. Deliberately set in the midst of a sleepy, quaint English village of Sandford, Pegg's Nicholas Angel is sent there because, bluntly, he's too good at his job, and he's making his city colleagues look bad. The proverbial fish out of water, Angel soon discovers that not everything in Sandford is quite as it seems, and joins forces with Nick Frost's lumbering Danny Butterman to find out what's what. Hot Fuzz then proceeds to have a rollicking good time in both tipping its hat to the genre films that are clearly its loving inspiration, and coming up with a few tricks of its own. It does comedy better than action, with plenty of genuine laugh-out-loud moments, but it's no slouch either when the tempo needs raising. One of the many strong cards it plays is its terrific cast, which includes former 007 Timothy Dalton, Bill Nighy, Bill Bailey, Paddy Considine, Edward Woodward and Jim Broadbent. Hot Fuzz, ultimately, just falls short of Shaun Of The Dead, but more than does enough to warrant many, many repeat viewings. It's terrific fun, and in the true hit action movie style, all-but-demands some form of sequel. That said, with Pegg and Wright now with two excellent, and suitably different, genres ticked off, it'll be interesting to see what they do next. [+]

Winning a raft of awards, not least of which four Oscars, including Best Picture and Best Director, Oliver Stone's Platoon was a box-office smash heralding Hollywood's second wave of Vietnam war films. Where predecessors The Deer Hunter (1978) and Apocalypse Now (1979) were elaborate epics, Platoon simply showed the daily reality of the war from the point of view of ordinary soldiers. Stone's own service in Vietnam gives his work a unique authenticity. Charlie Sheen gives his best performance to date, enduring a series of increasingly large-scale and bloody battles which retrospectively make one wonder why Saving Private Ryan was hailed as so new. Against this gruelling verity the film falters over the symbolic conflict between good and evil sergeants played by Willem Dafoe and Tom Berenger. Even though this was also based in real life, it strikes a too conventionally Hollywood-like note in a film which otherwise maintains much of the raw power of Stone's other film from 1986, Salvador. Johnny Depp fans should look out for an early appearance by the star. Stone would return to Vietnam with the more sophisticated Born on the Fourth of July (1989) and Heaven and Earth (1993). On the DVD: The 50-minute documentary "Tour of the Inferno" goes beyond the usual "making-of" to present a personal account both of the film and of Stone's own time in Vietnam. Likewise the two audio commentaries-one by Stone, the other by Captain Dale Dye, fellow veteran and military technical advisor-range between the making of the film and the degree to which the actors came to inhabit their parts, to their own wartime experiences. [+]

The venerable Superman mythos gets a 21st-century updating in the imaginative and engaging TV series Smallville. The premise of the show-Superman as a teenager-takes up just a few pages in Superman's very first comic-book appearance (in Action Comics back in 1938), but producers Alfred Gough and Miles Millar flesh out that period by portraying young Clark Kent (Tom Welling) not as the noble Superman-in-waiting, but as an average teen with some not-so-ordinary supernatural powers, including incredible strength and heat vision (Clark hasn't lifted up, up, and away as of yet). Clark's desire to fit in with his peers and make sense of his extraordinary abilities grounds him in very realistic and identifiable terms for the series' primarily under-25 audience, as does his appealing and tentative romance with Kristen Kreuk as Clark's dreamgirl Lana Lang. But Smallville also strikes gold when it takes a turn towards more comic-book territory, as evidenced by the parade of shape-shifting killers and other outlandish antagonists (many generated, in one of the series' most ingenious notions, by the same devastating meteor shower that brought the infant Clark to Earth) that Clark must harness his powers to face and defeat. Gough and Millar, along with their capable cast (which includes Michael Rosenbaum as a young and already bald-pated Lex Luthor, and Annette O'Toole and John Schneider as the Kents) manage to pull off the precarious high-wire act of combining science fiction with coming-of-age drama to create this highly watchable programme. -Paul Gaita.

The movie that helped breathe new life into the summer blockbuster, the success of Pirates Of The Caribbean: Curse Of The Black Pearl is remarkable for several reasons. Firstly, there's the unlikely source material. There's no previous history of theme park rides inspiring major hit movies, yet that's just what's happened here. Secondly, there's the patchy performance of pirate-related movies over the years (does anyone remember seeing Cutthroat Island in a cinema?). And then there's that performance from Johnny Depp, the one that had Disney executives in a flap prior to the release of the movie. His Captain Jack Sparrow is a fantastic, unlikely creation, proving to be both unpredictable yet utterly compelling. Such is his impact on the film that it's hardly surprising Depp snared an Oscar nomination for the role. Yet Depp's performance shouldn't blind anyone to the film's many other qualities. The supporting cast, particularly the likes of Geoffrey Rush, Jack Davenport and Jonathan Pryce are all clearly having a whale of a time, while Gore Verbinski's pacey yet controlled direction rarely lets the momentum slow. And with all their work grounded by a quality script and worthwhile story, the end result is a film that clicks in many, many different ways. [+]

The final complete season of HBO's remarkable Deadwood series is full of surprises and devastating experiences as the nascent, dangerous town prepares to join Dakota territory in 1877. As in the previous two seasons, the question of who will control the town's resources, assets, and people drives much of the drama, affecting all manner of relationships and alliances, often between the most unlikely people. The dominant storyline in Deadwood Season 3 concerns upcoming elections for mayor and sheriff of the mucky, gold-mining town. The real juice, however, is not so much between the individuals running for office as between two power brokers each trying to steer the results toward their own purposes. Saloon owner and Deadwood's puppetmaster, Al Swearengen (Ian McShane sustaining his brilliant peformance in the previous two seasons), works closely with incumbent lawman Seth Bullock (Timothy Olyphant) on retaining the latter's seat. But Bullock himself has difficulty surrendering his penchant for taking unambiguous action and relying on few words, especially when he has to act like a politician and deal with people such as George Hearst (Gerald McRaney, playing the real-life father of William Randolph Hearst). Swearengen's rival, Hearst-a self-made industrialist who gained his fortune through mining-has every intention of overtaking Deadwood, with his eye particularly on the lucrative mine owned by Bullock's former lover, Alma (Molly Parker). (The violence Hearst employs to get to Alma's claim will stun many Deadwood fans. ) Meanwhile, Bullock's old friend, Sol Starr (John Hawkes), runs for mayor against the feckless E. B. [+]

In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of Apocalypse Now as if it was his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad's classic story "Heart of Darkness" into the horrors of the Vietnam War, following a battle-weary Captain Willard (Martin Sheen) on a secret upriver mission to find and execute the renegade Colonel Kurtz(Marlon Brando), who has reverted to a state of murderous and mystical insanity. The journey is fraught with danger involving war-time action on epic and intimate scales. One measure of the film's awesome visceral impact is the number of sequences, images and lines of dialogue that have literally burned themselves into our cinematic consciousness, from the Wagnerian strike of helicopter gunships on a Vietnamese village to the brutal murder of stowaways and the unflinching fearlessness of the surfing warrior Lieutenant Colonel Kilgore (Robert Duvall), who speaks lovingly of "the smell of napalm in the morning. " Like Herzog's Aguirre: The Wrath of God, this film is the product of genius cast into a pit of hell and emerging, phoenix-like, in triumph. Coppola's obsession (effectively detailed in the riveting documentary Hearts of Darkness, directed by Coppola's wife, Eleanor) informs every scene and every frame, and the result is a film for the ages. -Jeff Shannon In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of Apocalypse Now as if it were his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair, but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad's classic story Heart of Darkness onto the horrors of the Vietnam War, following a battle-weary Captain Willard (Martin Sheen) on a secret upriver mission to find and execute the renegade Colonel Kurtz (Marlon Brando), who has reverted to a state of murderous and mystical insanity. [+]

In Independence Day, a scientist played by Jeff Goldblum once actually had a fistfight with a man (Bill Pullman) who is now president of the United States. That same president, late in the film, personally flies a jet fighter to deliver a payload of missiles against an attack by extraterrestrials. Independence Day is the kind of movie so giddy with its own outrageousness that one doesn't even blink at such howlers in the plot. Directed by Roland Emmerich, Independence Day is a pastiche of conventions from flying-saucer movies from the 1940s and 1950s, replete with icky monsters and bizarre coincidences that create convenient shortcuts in the story. (Such as the way the girlfriend of one of the film's heroes-played by Will Smith-just happens to run across the president's injured wife, who are then both rescued by Smith's character who somehow runs across them in alien-ravaged Los Angeles County. ) The movie is just sheer fun, aided by a cast that knows how to balance the retro requirements of the genre with a more contemporary feel. -Tom Keogh.

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. [+]

Rocky - The 1976 Oscar winner for Best Picture, John G Avildsen's Rocky is the story of a down-and-out club fighter who gets his million-to-one shot at a world championship title. In the title role, Sylvester Stallone (who also penned the screenplay) draws a carefully etched portrait of a loser who, in Brando-esque fashion, "coulda been a contender". Rocky then becomes one thanks to a publicity stunt engineered by current champ Apollo Creed (Carl Weathers), while finding love courtesy of timid wallflower Adrian (Talia Shire) along the way. Burgess Meredith revives the spirit of 1940's genre pictures through his scenery-chewing performance as Rocky's trainer. An enormously entertaining film, Rocky is irresistible in its depiction of an underachiever who has the courage to start all over again-a description that could have been applied to Stallone's own life at the time. -Kevin Mulhall Rocky 2 - The Italian Stallion returns for a rematch with Apollo Creed, hoping, finally, to capture the heavyweight title. This time, even his girlfriend, Adrian, gives Rocky her blessing. Sylvester Stallone wrote and directed this exciting follow-up, with Burgess Meredith, Talia Shire, Carl Weathers, and Burt Young all reprising their roles from the first film. Rocky 3 - Rocky's lifestyle of wealth and idleness is suddenly shaken when a powerful fighter challenges him to a fight for the championship. After being beaten, the previously over-confident Rocky resumes his training in preparation for a re-match. [+]

The most successful invigoration of a cinematic franchise since Batman Begins, Casino Royale offers a new Bond identity. Based on the Ian Fleming novel that introduced Agent 007 into a Cold War world, Casino Royale is the most brutal and viscerally exciting James Bond film since Sean Connery left Her Majesty's Secret Service. Meet the new Bond; not the same as the old Bond. Daniel Craig gives a galvanising performance as the freshly minted double-0 agent. Suave, yes, but also a "blunt instrument," reckless and possessed with an ego that compromises his judgment during his first mission to root out the mastermind behind an operation that funds international terrorists. In classic Bond film tradition, his global itinerary takes him to far-flung locales, including Uganda, Madagascar, the Bahamas (that's more like it) and Montenegro, where he is pitted against his nemesis in! a poker game, with hundreds of millions in the pot. The stakes get even higher when Bond lets down his armour by falling in love with Vesper (Eva Green), the ravishing banker's representative fronting him the money. For longtime fans of the franchise, Casino Royale offers some retro kicks. Bond wins his iconic Aston Martin at the gaming table, and when a bartender asks if he wants his martini "shaken or stirred," he disdainfully replies, "Do I look like I give a damn?". There's no Moneypenny or "Q," but Dame Judi Dench is back as the exasperated M who, one senses, admires Bond's "bloody cheek. [+]