How does Spider-Man 3 follow on the heels of its predecessor, which was widely considered the best superhero movie ever? For starters, you pick up the loose threads from that movie, then add some key elements of the Spidey comic-book mythos (including fan-favorite villain Venom), the black costume, and the characters of Gwen Stacy and her police-captain father. In the beginning, things have never looked better for Peter Parker (Tobey Maguire): He's doing well in school; his alter ego, Spider-Man, is loved and respected around New York City. And his girlfriend, Mary Jane Watson (Kirsten Dunst), has just taken a starring role in a Broadway musical. But nothing good can last for Spidey. Mary Jane's career quickly goes downhill; she's bothered by Peter's attractive new classmate, Gwen Stacy (Bryce Dallas Howard); and the new Daily Bugle photographer, Eddie Brock (Topher Grace), is trying to steal his thunder. Enter a new villain, the Sandman (Thomas Haden Church), who can transform his body into various forms and shapes of sand and who may be connected to Peter's past in an unexpected way. There's also the son of an old villain, Harry Osborne (James Franco), who unmasked Spidey in the previous movie and still has revenge on his mind. And a new black costume seems to boost Spidey's powers, but transforms mild-mannered Peter into a mean and obnoxious boor (Maguire has some fun here). If that sounds like a lot to pack into one 140-minute movie, it is. While director Sam Raimi keeps things flowing, assisted on the screenplay by his brother Ivan and Alvin Sargent, there's a little too much going on, and it's inevitable that one of the villains (there are three or four, depending on how you count) gets significantly short-changed. [+]

In addition to spawning the popular Naked Gun movie franchise, Police Squad! had a lasting impact on TV comedy, and it's still a guilty pleasure. Hot from the success of Airplane! two years earlier, the ZAZ team (brothers David and Jerry Zucker and writing partner Jim Abrahams) decided to spoof TV cop shows, using the late '50s Lee Marvin series M Squad and the popular series format of Quinn Martin Productions (e. g. , The Streets of San Francisco) as their template for supremely silly, gag-laden satire. With Airplane! star Leslie Nielsen as straight-faced detective Frank Drebin and Alan North as Drebin's befuddled boss, Capt. Ed Hocken, this half-hour series quickly established an irresistible combination of nonstop sight gags, non sequiturs, and repeated routines ("Cigarette?" "Yes, it is") that dared viewers to pay close attention or miss the laughs if they didn't. Ironically, this very quality-you had to actually watch the show instead of casually listening for punchlines-is what ultimately sealed the series' fate. After only six poorly rated episodes, Police Squad! was canceled without fanfare, and six years passed before Drebin returned as the bumbling hero of The Naked Gun. In addition to the rib-tickling disparity between onscreen episode titles and narrated titles, and "special guest stars" (including William Shatner, Robert Goulet, Lorne Greene, and others) who get killed in the opening credits, loyal viewers could count on a weekly dose of hilarity from Nielsen, North, and their supporting players. Character actor William Duell appeared each week as shoeshine boy "Johnny the Snitch," capable of answering literally any question if you repeatedly greased his palm (a gag that led to info-seeking cameo appearances by Dick Clark, Dr. [+]

It's hard not to feel like one has entered a certain dimension of video-game logic while watching Hitman, a lightly enjoyable action-suspense movie indeed based on a popular and bloody game about a mysterious hired gun with a bar-code tattoo on his bald head and a number (47) in lieu of a name. Living like a chaste monk while slipping past borders to kill his targets, 47 (Timothy Olyphant of Deadwood) moves like a determined shark and speaks softly to his contact at the enigmatic "the Organization," which raises cast-off children to become well-paid assassins. Fruitlessly pursued by an Interpol cop (Dougray Scott) who can never get sovereign governments to cooperate, 47 has no trouble slipping in and out of countries to ply his trade. Until, that is, he's set up to take a fall in Russia by shooting a national leader who is promptly replaced by a lookalike double. Suddenly on the run, 47 has to retrace his steps and formulate a lethal plan for extricating himself from a trap. Caught in the chaos is the lovely Nika (Olga Kurylenko), forced into sex slavery by 47's new enemies and the one person who seems uniquely qualified to break through 47's many personal barriers. Directed by France's Xavier Gens, Hitman features loads of bloody mayhem and unabashed moments of pulp absurdity, such as a scene in which 47 and three other Organization killers agree to fight one another respectfully, then proceed to pulverize each other with swords and fists. As fodder for gamers, however, Hitman is packed with visuals and dramatic moments that seem so odd on the big screen until one realizes they are basically placemarkers for the video-game edition. -Tom Keogh, Amazon. com.

In the 1970s the British film industry went through a craze for turning hit TV comedies into big screen features. From On the Buses (1971) to Porridge (1979), Dad's Army was one of the few which made the transition with style. Set in the small south coast town of Walmington-on-Sea in 1940, the film does have the structure of three TV episodes remade and sequenced together. Beginning with the formation of the local Home Guard, the company has a self-contained adventure on military manoeuvres, before a finale which allows for some heroism as three German officers take over the church hall. Dad's Army has all the gentle character comedy of the classic BBC TV series, benefiting enormously by retaining the entire television cast, headed by the incomparable Arthur Lowe as the blustering Captain Mainwaring and supported by the equally wonderful John Le Mesurier and Clive Dunn. The cinema budget allows far superior production values to the original series, with a loving re-creation of 1940's England and some surprisingly beautiful cinematography. Above all, the film is both funny and a nostalgic reminder of a time when ordinary middle-aged and old men could be both real and movie heroes. -Gary S. Dalkin.

George Lucas' The Adventures of Young Indiana Jones: Volume Two, The War Years continues the extraordinary narrative, historical, and production achievements found in Volume One. As with the first series, each feature-length programme (re-editing material from the original, one-hour broadcasts to smooth out the chronology of Jones' experiences as a child and young man) resembles a theatrical experience more than episodic television. Each drama is remarkably rich in layered detail, shedding light on major events, figures, and ideas from a pivotal era in world history. Where Volume One largely focused on the early childhood of Indiana Jones as he travelled the world in the company of his parents, meeting the likes of Picasso, Tolstoy, Freud, and T. E. Lawrence, Volume Two is exclusively concerned with Jones' experiences during World War I. This time, Jones (Sean Patrick Flanery, introduced in the final episodes of Volume One) is serving in the infantry of the Belgian army under an assumed name, eventually rising in rank from corporal to captain and becoming a spy after paying extensive, nightmarish dues on the war's front line in Europe. The series captures some of the horror of World War I's most infamous battles, directly inserting Jones into the thick of the action at Verdun, the Somme, the Middle East, and elsewhere. In time, Jones is repeatedly recruited to become a secret agent, going undercover in Austria to help forge a separate peace between the last Habsburg emperor and the allies, and playing a crucial part in the survival of British and Australian forces crossing a merciless desert. Along the way, Indy befriends Bolsheviks preparing for the Russian Revolution, has a romance with Mata Hari, attempts a prison break with Charles de Gaulle, and has a wonderful encounter with Albert Schweitzer. [+]

Praised at the time for Jim Carrey's facial acrobatics as the titular hero, The Mask also had real charm in its use of period-ambiguous settings and intelligent use of its heroine, Cameron Diaz in her first screen role. Carrey is as interesting when he's the put-upon Stanley Ipkiss as he is when he transforms into an amoral cartoon character (thanks to chance discovery of an ancient mask). When a sweet woman reporter tells him that he is the nicest man in town, it does not strike us as odd. The plot is a pretty standard one-the hero comes to realise that he can do everything for himself and does not need magical assistance-but outstanding performances by Peter Green as the gangster heavy and Peter Riegret as the irascible cop who has to make sense of things offers the film a bit more dramatic oomph. Add to this a couple of splendid song-and-dance routines and one of the most charming dogs in modern movies, and you have something moderately special. On the DVD: The DVD comes with a very enthusiastic director's commentary, a moderately interesting making-of documentary and interviews with the cast as well as the theatrical trailer. -Roz Kaveney.

The greatest Brit-flick crime caper comedy of all time, 1969's The Italian Job towers mightily above its latter-day mockney imitators. After Alfie but before Get Carter Michael Caine is the hippest ex-con around, bedding the birds (several at a time) and spouting immortal one-liners ("You're only supposed to blow the bloody doors off!"). The inheritor of a devious plan to steal gold bullion in the traffic-choked streets of Turin, Caine recruits a misfit team of genial underworld types-including a lecherous Benny Hill and three plummy public-schoolboy rally drivers-and uses the occasion of an England-Italy football match as cover for the heist. In his final screen appearance, Noel Coward joyfully sends up his own patriotic persona, and there are small though priceless cameos from the likes of Irene Handl and John Le Mesurier. But The Italian Job's real stars are the three Mini Coopers-patriotically decorated red, white and blue-that run rings round every other vehicle in an immortal car-chase sequence, which preserves forever the British public's love affair with the little car. Quincy Jones provided the irreverent music, naturally, while the cliffhanger ending thumbs its nose at anything so un-hip as a resolution. It's all unashamedly jingoistic-ridiculously, gleefully, absurdly so-but the whole sums up the joie de vivre of the 1960s so perfectly that future historians need only look here to learn why the decade was swinging. On the DVD: The Italian Job disc contains three all-new documentaries-"The Great Idea" (conception), "The Self-Preservation Society" (casting), and "Get a Bloomin' Move On" (stunts)-which dovetail into a good 68-minute "making of" featurette. Contributors include scriptwriter Troy Kennedy Martin and Producer Michael Deeley, who also crops up on the sporadically interesting commentary track with author of The Making of The Italian Job, Matthew Field. The deleted "Blue Danube" waltz scene is also included, with optional commentary. [+]

The Terminator was the film that cemented Arnold Schwarzenegger's place in the action-brawn firmament, and both his and the movie's subsequent iconic status are well deserved. He's chilling as the futuristic cyborg that kills without fear, without love, without mercy. James Cameron's story and direction are pared to the bone and are all the more chillingly effective for it. But don't overlook the contribution of Linda Hamilton, who more than holds her own as the Terminator's would-be victim, Sarah Connor, thus creating-along with Sigourney Weaver in Alien-a new generation of rugged, clear-thinking female action stars. The film's minimalist, malevolent violence is actually scarier than that of its far more expensive, more effects-laden sequel. -Anne Hurley, Amazon. com On the DVD: Rejoice, The Terminator is back, better looking and louder than ever. After years of inferior VHS versions, the cleaned-up print of this DVD is a revelation, as is the digitally remastered Dolby 5. 1 soundtrack: from the opening MGM lion's roar to the crunch of Arnie's boots and the pounding of Brad Fiedel's techno-industrial score, both picture and sound are of a quality that belie the movie's age. The first disc has the movie plus a DVD-ROM feature containing three different versions of the screenplay, which can be read scene-by-scene along with the film. [+]

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.

Martin Scorsese's 1990 masterpiece GoodFellas immortalises the hilarious, horrifying life of actual gangster Henry Hill (Ray Liotta), from his teen years on the streets of New York to his anonymous exile under the Witness Protection Program. The director's kinetic style is perfect for recounting Hill's ruthless rise to power in the 1950s as well as his drugged-out fall in the late 1970s; in fact, no one has ever rendered the mental dislocation of cocaine better than Scorsese. Scorsese uses period music perfectly, not just to summon a particular time but to set a precise mood. GoodFellas is at least as good as The Godfather without being in the least derivative of it. Joe Pesci's psycho improvisation of Mobster Tommy DeVito ignited Pesci as a star; Lorraine Bracco achieves a career-defining performance as the love of Hill's life; and every supporting role, from Paul Sorvino to Robert De Niro, is a miracle. Given the number of truly great Mafia movies over the years it would be a brave soul who classed GoodFellas as the best. But surely we can all agree that it is, at the very least, first among equals. Martin Scorsese took the factual details of mobster Henry Hill's life, as written by author Nicholas Pileggi, and turned it into a cinematic experience that has burnt itself indelibly into the consciousness of every viewer, and which now forms a touchstone in the lexicon of film and TV-making (what is The Sopranos if not GoodFellas: The Soap?) For aficionados it's a virtuoso exercise in filmmaking, showcasing remarkable and innovative use of steadicam shots, freeze-frame, voice-over narration, editing and incidental music (you'll never be able to listen to "Layla" the same way again). Every would-be hotshot director from Quentin Tarantino to Doug Liman to Jon Favreau has paid homage to it. But above all that, it's an extraordinarily visceral, gripping and thoroughly enjoyable piece of storytelling as we witness the glory days of organised crime from the protagonist's viewpoint; then, abruptly after one bloody murder too far, we see him decline in a spiral of drugs, violence and paranoia. [+]

Gerard Butler, Lena Headey, Andrew Tiernan, David Wenham, Dominic West

Twelve years after Die Hard with a Vengeance, the third and previous film in the Die Hard franchise, Die Hard 4. 0 finds John McClane (Bruce Willis) a few years older, not any happier, and just as kick-ass as ever. Right after he has a fight with his college-age daughter (Mary Elizabeth Winstead), a call comes in to pick up a hacker (Justin Long, Dodgeball) who might help the FBI learn something about a brief security blip in their systems. Now any Die Hard fan knows that this is when the assassins with foreign accents and high-powered weaponry show up, telling McClane that once again he's stumbled into an assignment that's anything but routine. Once that wreckage has cleared, it is revealed that the hacker is only one of many hackers who are being targeted for extermination after they helped set up a "fire sale," a three-pronged cyberattack designed to bring down the entire country by crippling its transportation, finances, and utilities. That plan is now being put into action by a mysterious team (Timothy Olyphant, Deadwood, and Maggie Q, Mission: Impossible 3) that seems to be operating under the government's noses. Die Hard 4. 0 uses some of the cat-and-mouse elements of Die Hard with a Vengeance along with some of the pick-'em-off-one-by-one elements of the now-classic original movie. And it's the most consistently enjoyable installment of the franchise since the original, with eye-popping stunts (directed by Len Wiseman of the Underworld franchise), good humour, and Willis's ability to toss off a quip while barely alive. Yippee-ki-ay! -David Horiuchi Bruce Willis, Justin Long, Timothy Olyhant, Cliff Curtis, Maggie Q.