Harrison Ford lends his solid, perpetually disgruntled presence to Hollywood Homicide, an action comedy in which he's paired with the squinty eyes and peaches-and-cream complexion of Josh Hartnett (Black Hawk Down). Radical French film-maker Jean-Luc Godard would appreciate this complete deconstruction of the buddy-cop flick genre; basic cinematic elements (mismatched partners, a hard-ass superior riding them, arguments about who's going to drive, arguments about intuition vs. diligent detective work, the bad cop who killed Hartnett's father, etc. ) have been scrambled and slapped together with no concern for coherence, making clear their innately artificial nature. Sex scenes and car chases come out of nowhere and disappear without consequence, providing arbitrary visual stimulus. During shoot-outs, it's impossible to tell who got killed or why, underscoring a basic doubt about the purpose of making movies like Hollywood Homicide. It's rare for a mainstream movie to be so daringly (if perhaps accidentally) avant-garde. -Bret Fetzer.

How can one single review possibly do justice to what's on offer in this spectacular Bond Ultimate Collectors' Set? Contained within it are not only all 21 of 007's big screen adventures, but also an equal number of extras discs that dig behind the movies themselves. And those extras alone will happily rob you of hour after hour of your life. What's more, the Bond Ultimate Collectors' Set has been brought right up to date by the inclusion of the recent rebooting of the franchise, Casino Royale. This alone is a terrific film, and offers some exciting glimpses into where the franchise can go now with Daniel Craig in the title role. But let's not forget the fine actors who preceeded him. The Bond Ultimate Collectors' Set goes right back to that first appearance of 007 in the form of Sean Connery in Dr. No. From there, enjoy George Lazenby's sole outing as Bond in On Her Majesty's Secret Service, the Roger Moore era commencing with Live and Let Die before arriving into the 80s with Timothy Dalton's pair of movies in the lead role. The franchise then received another reboot of sorts with Pierce Brosnan in the excellent GoldenEye, before he eventually-and reluctantly-passed the mantle onto Daniel Craig. What's so pleasing though is how so many of these films hold up. [+]

Marlene Dietrich purrs through sexy songs, and Jimmy Stewart succumbs to her sultry, androgynous ways in this seminal Western with more than a touch of comedy. He plays your average nice guy who turns out to have something special up his sleeve when confronted by a gang of bad guys. He tames the banditos and wins dance-hall girl Dietrich's heart with his nonviolent ways. You may think you have seen this before, and most likely you have. Based on the 1930 novel by Max Brand, the plot has been copied repeatedly. However, this atmospheric 1939 delight stands far above its imitators. This is the movie in which Dietrich, wearing full saloon-gal regalia, sings, "See What the Boys in the Back Room Will Have. " It was remade with Audie Murphy in 1954 as Destry, but that version lacks the charisma provided by Stewart and Dietrich. -Rochelle O'Gorman.

On the timeline of successful TV cop dramas, Kojak offered bold authenticity and paved the way for NYPD Blue. As immortalised by Telly Savalas, veteran detective Theo Kojak was introduced in the 1973 TV movie The Marcus-Nelson Murders, a ratings hit that encouraged CBS and writer-producer Abby Mann to create a trend-setting series (based on a book by Selwyn Raab) that premiered on October 24 of that year. The Greek, bald-headed, snappily attired Kojak brought no-nonsense bravado to homicide cases in South Manhattan-a setting that lent a gritty, urban edge to intelligent plots that won the respect of real cops with an emphasis on diligent police work instead of overblown action and phony glamour. While working cases with his captain Frank McNeil (Dan Frazer) and closest colleagues Crocker (Kevin Dobson) and Stavros (played by Savalas's brother George, credited as "Demosthenes" for the first two seasons), Kojak had a knack for bending the rules (but never breaking them) if he knew it would solve a crime. Kojak came at a perfect time for Savalas and cop dramas in general. The actor's career was slumping in the early '70s (he'd just appeared in the Italian horror film Lisa and the Devil), and he quickly put his personal stamp on the role with street-wise sarcasm and trademark lollipops (a perfect prop that Savalas adopted to quit smoking). Consistently well-written, the series was realistically rooted in a broad spectrum of New York City crime. These qualities attracted plenty of fresh and established talent, and these 22 well-preserved episodes include guest appearances by Harvey Keitel, James Woods, Richard Jordan, Hector Elizondo, John Ritter (in one of his first TV roles), Paul Michael Glaser, Dabney Coleman, Tina Louise, and a host of familiar TV veterans. For this debut season, Savalas won the Emmy Award for Outstanding Lead Actor in a Drama Series, and Kojak ran for five well-rated seasons, followed by several TV-movie revivals in 1985, 1989, and 1990. The enduring popularity of Kojak was further proven when the show was revived yet again in March of 2005, with Ving Rhames in the title role. [+]

Of all the movies made about or glancingly involving the 19th-century outlaw Jesse Woodson James, The Assassination of Jesse James by the Coward Robert Ford is the most reflective, most ambitious, most intricately fascinating, and indisputably most beautiful. Based on the novel of the same name by Ron Hansen, it picks up James late in his career, a few hours before his final train robbery, then covers the slow catastrophe of the gang's breakup over the next seven months even as the boss himself settles into an approximation of genteel retirement. But in another sense all of the movie is later than that. The very title assumes the audience's familiarity with James as a figure out of history and legend, and our awareness that he was-will be-murdered in his parlor one quiet afternoon by a back-shooting crony. The film-only the second to be made by New Zealand-born writer-director Andrew Dominik-reminds us that Dominik's debut film, Chopper, was the cunningly off-kilter portrait of another real-life criminal psychopath who became a kind of rock star to his society. The Jesse James of this telling is no Robin Hood robbing the rich to give to the poor, and that train robbery we witness is punctuated by acts of gratuitous brutality, not gallantry. Nineteen-year-old Bob Ford (Casey Affleck) seeks to join the James gang out of hero worship stoked by the dime novels he secretes under his bed, but his glam hero (Brad Pitt) is a monster who takes private glee in infecting his accomplices with his own paranoia, then murdering them for it. In the careful orchestration of James's final moments, there's even a hint that he takes satisfaction in his own demise. Affleck and Pitt (who co-produced with Ridley Scott, among others) are mesmerising in the title roles, but the movie is enriched by an exceptional supporting cast: Sam Shepard as Jesse's older, more stable brother Frank; Sam Rockwell as Bob Ford's own brother Charlie, whose post-assassination descent into madness is astonishing to behold; Paul Schneider, Garret Dillahunt, and Jeremy Renner as three variously doomed gang members; and Mary-Louise Parker, who as Jesse's wife Zee has few lines yet manages with looks and body language to invoke a well nigh-novelistic back-story for herself. There are also electrifying cameos by James Carville, doing solid actorly work as the governor of Missouri; Ted Levine, as a lawman of antic spirit; and Nick Cave, composer of the film's score (with Warren Ellis) and screenwriter of the Aussie western The Proposition, suddenly towering over a late scene to perform the folk song that set the terms for the book and movie's title. [+]

Let's be honest: this 1995 epic isn't nearly as bad as its negative publicity led us to expect. At the time, Waterworld was the most expensive Hollywood production in history (it had a Titanic-sized 200 million US dollars budget), and the film arrived in cinemas with so much controversy and negative gossip that it was an easy target for ridicule. The movie itself, a flawed but enjoyable post-apocalypse thriller, deserves better. Waterworld stars Kevin Costner as the Mariner, a lone maverick with gills and webbed feet who navigates the endless seas of Earth after the complete melting of the polar ice caps. The Mariner has been caged like a criminal when he's freed by Helen (Jeanne Tripplehorn) and enlisted to help her and a young girl (Tina Majorino) escape from the Smokers, a group of renegade terrorists led by Dennis Hopper in yet another memorably villainous role. It is too bad the predictable script isn't more intelligent, but as a companion piece to The Road Warrior, this seafaring stunt-fest is adequately impressive. -Jeff Shannon.

A Cinderella story from the mean streets of Kingston, Jamaica, the alternately comic and gritty Dancehall Queen is an intriguingly dark crowd pleaser. Marcia (Audrey Reid) is a single mom and street vendor barely scraping by even with a financial assist from the seemingly avuncular Larry (Carl Davis), a gun-toting strongman with a twisted desire for Marcia's teenage daughter. Complicating things is Priest (Paul Campbell), a murderous hood who killed Marcia's friend and now is terrorizing the defenseless woman. Facing three big problems-Larry, Priest, and a lack of money-Marcia arrives at an inspired solution: develop an alter ego, a dancing celebrity called the Mystery Lady who can compete in a cash-prize contest and pit both of the men against one another. Which is exactly what she does, and it's great fun watching Marcia instigate her complicated plan with a little help from sympathetic friends. Colorful, rowdy, funny, and dangerous, Dancehall Queen is a clever and ceaselessy energetic movie steeped in Kingston street life and the desire to keep body and soul together at home. Reid is a delight as the everyday figure who transforms into an icon in the evenings, and the dance scenes are amazingly bawdy. -Tom Keogh.

Ocean's Eleven improves on the 1960's Rat Pack original with supernova casting, a slickly updated plot and Steven Soderbergh's graceful touch behind the camera. Soderbergh reportedly relished the opportunity "to make a movie that has no desire except to give pleasure from beginning to end", and he succeeds on those terms, blessed by the casting of George Clooney as Danny Ocean, the title role originally played by Frank Sinatra. Fresh out of jail, Ocean masterminds a plot to steal $163 million from the seemingly impervious vault of Las Vegas's Bellagio casino, not just for the money but to win his ex-wife (Julia Roberts) back from the casino's ruthless owner (Andy Garcia). Soderbergh doesn't scrimp on the caper's comically intricate strategy, but he finds greater joy in assembling a stellar team (including Brad Pitt, Matt Damon, Don Cheadle and Carl Reiner) and indulging their strengths as actors and thieves. The result is a film that's as smooth as a silk suit and just as stylish. -Jeff Shannon On the DVD: Ocean's Eleven on disc is hardly swarming with special features, but just like all good heists it's quality not quantity that counts. The cast commentary is lively and it's nice to hear intelligent comments coming from Hollywood's big league for a change. However, it's the director and writer's commentary that is the real gem; it's funny, enlightening and most of all it allows Ted Griffin to put the case forward for all screenwriters across the world as to the importance of their craft. The main feature has an impressive transfer of sound and visuals, making the suits sharper and David Holmes' soundtrack even funkier. -Nikki Disney George Clooney, Brad Pitt, Matt Damon, Julia Roberts, Andy Garcia, Don Cheadle.