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. -Jeff Shannon.

Following their animated/live action hit Space Jam, Warner Bros. jumped into the fully animated feature competition by playing it safe, giving the Arthurian legend a conspicuously Disneyesque facelift. Ingredients from Beauty and the Beast, The Little Mermaid and Pocahontas are evident in the tale of a girl named Kayley (Jessalyn Gilsig) whose father, a Knight of the Round Table, is killed by Sir Ruber (Gary Oldman), a maniacal brute who steals Excalibur and threatens to seize King Arthur's Camelot. Kayley enlists the blind, reclusive knight-aspirant Garrett (Cary Elwes) to brave the Enchanted Forest and retrieve the magic sword, and their adventure is (of course) fraught with danger. Adding extra punch to the movie's commercial appeal, the soundtrack songs are performed by big names like LeeAnn Rimes and Celine Dion. And if that's not enough to hold a kid's attention, there's a two-headed dragon ("we're the reason cousins shouldn't marry") voiced by Eric Idle and Don Rickles. With so much talent involved, it's entertaining but uninspired, although cleverly harmless riffs from Dirty Harry, Taxi Driver and other movies spice up the adventure with enjoyable pop-culture references. -Jeff Shannon.

Released in 1962, this first James Bond movie remains one of the best and serves as an entertaining reminder that the Bond series began (in keeping with Ian Fleming's novels) with a surprising lack of gadgetry and big-budget fireworks. Sean Connery was just 32 years old when he won the role of Agent 007. In his first adventure James Bond is called to Jamaica where a colleague and secretary have been mysteriously killed. With an American CIA agent (Jack Lord, pre-Hawaii Five-O), they discover that the nefarious Dr. No (Joseph Wiseman) is scheming to blackmail the US government with a device capable of deflecting and destroying US rockets launched from Cape Canaveral. Of course, Bond takes time off from his exploits to enjoy the company of a few gorgeous women, including the bikini-clad Ursula Andress. She gloriously kicks off the long-standing tradition of Bond women who know how to please their favourite secret agent. A sexist anachronism? Maybe, but this is Bond at his purest, kicking off a series of movies that shows no sign of slowing down. -Jeff ShannonEdition details Inside Dr. No (PG) Terence Young: Bond Vivant Audio commentary featuring director Terence Young and members of the cast and crew 1963 Dr No "featurette" Dr. [+]

Based on the novels by Bernard Cornwell, Sharpe (1993-7) ran to 14 full-length television films that follow the adventures of the titular soldier through the later years of the Napoleonic Wars. The programmes are an outstanding achievement for the small screen, dominated by Sean Bean's central performance as the heroic, troubled outsider who turns out to be a resourceful and loyal leader. Bolstered by a strong supporting cast, particularly Daragh O'Malley as Harper and (in later episodes) Abigail Cruttenden as Jane, Sharpe is often visually striking, the action tense and gripping. Consistency is maintained by all 14 episodes being directed by Tom Clegg. On the DVD: Sharpe on DVD's sound is full-bodied stereo while the very "sharp" (pun intended) picture has been transferred slightly letterboxed at 14:9. Though looking much better than the original TV transmissions the occasionally cropped framing makes it apparent the films were shot in 16:9 widescreen, so it is regrettable they have not been transferred to DVD in that format. Otherwise these are first-rate releases. -Gary S Dalkin.

In Red Planet the only thing thicker than the Martian atmosphere (which is breathable, by the way) is the layer of clichés that nearly smothers a formulaic beat-the-clock plot. Science fiction fans are sure to be forgiving, however, because the film is reasonably intelligent, boasts a few dazzling sequences, and presents fascinating technology in the year 2057. We don't know how the Mars-1 spaceship gets to Mars in only six months (newfangled propulsion, no doubt), but we do get some cool diagnostic read-outs on tinfoil scrolls, an abundance of well-designed hardware, and a service-robot-turned-villain that's a high-tech hybrid of RoboCop, Bruce Lee, and a slinky panther with plenty of lethal attitude. The oxygen in the Martian atmosphere has resulted from nascent efforts at terraforming, made necessary by Earth's over-polluted condition. Mars-1 has been dispatched to determine why the terraforming is failing, and upon arrival everything goes inevitably haywire. Nearly two hours, three deaths, and multiple crises later (including the discovery of a Martian life form), "space janitor" Val Kilmer and his ultra-competent commander (Carrie-Anne Moss from The Matrix) have collaborated to set things right, capped off by second dose of the wretched narration that bookends the movie. Hoary material, to be sure, and as a veteran of TV commercials making his feature debut, director Anthony Hoffman is clearly more comfortable with flashy visuals than depth of character. Still, he keeps things humming right along. A perfectly suitable companion to another Y2K sci-fi thriller, Pitch Black, Red Planet is a fine way to kill a couple of hours. -Jeff Shannon, Amazon. [+]

Christopher Walken, Dwayne "The Rock" Johnson, Rosario Dawson, Seann William Scott

If you can manage to suspend your disbelief for the duration, you won't be disappointed with Air Force One. Harrison Ford plays a US president who single-handedly employs his rigid anti-terrorism policy when a band of Russian thugs hatch a mid-flight takeover of Air Force One. Gary Oldman, who chews the scenery as the lead terrorist, will shoot a hostage at the slightest provocation. Glenn Close plays the sternly pragmatic vice president who negotiates with Oldman from her Washington seat of power. If you can believe that the aircraft's pressurised cabin can sustain hundreds of rounds of machine-gun fire, you'll buy anything in this entertaining potboiler, especially thanks to Ford's stalwart heroics and some nifty special effects. Director Wolfgang Petersen (Das Boot) keeps the action moving so fast you won't be sweating the details. -Jeff Shannon, Amazon. com.

If you've never seen a submarine drama before, then U-571 will probably make a good impression as a tautly choreographed piece of entertainment. A strong cast led by Matthew McConaughey's sympathetic Lt. Tyler undertakes a perilous mission to seize a German Enigma machine, and encounter many dangers along the way. For anyone who has seen any other submarine movie, however, U-571 quickly turns into a succession of genre clichés: there's the depth-charge dropping scene, the diving so deep the reading goes off the scale scene, the near-mutinous tension among the crew, the sacrificial lamb who must save the day, the one torpedo left in the tube, assorted pipes bursting, and so on. The formula is set up by Bill Paxton's hard-nosed Captain, who tells Tyler what he must be prepared to do if he ever has his own command: a series of prophecies that, of course, all come true before long. From then on it's predictable action all the way. Where U-571 scores highly is in its wealth of period detail: every cog and lever that operates the U-boat is dwelt upon lovingly. It looks and feels completely authentic. The central historical inaccuracy, that the first naval Enigma machine was in fact captured by a British ship, is apologetically mentioned in the end credits. The movie makes no claim to be a true story, admittedly, but other fictional dramas have dealt with the same subject more effectively. [+]

Brad Pitt, Eric Bana, Orlando Bloom, Brian Cox, Sean Bean, Diane Kruger, Brendan Gleeson, Julian Glover