The definitive call to arms, Laurence Olivier's Henry V is a patriotic saga awash with pageantry, battles, romance and political chicanery. Intended to rally Britain during the darkest days of World War II, the film shows how the star of England sought to stake an ancestral, royal claim on the soil of France. Olivier once said, famously, that "it isn't until you're older that you can understand the pictorial beauty of heroism". And at the ripe age of 37, the actor essays an insouciant character endowed with great powers of strength, spirit, and intellect. From the moment Olivier strides on screen, the audience is held both rapt and willingly captive. During his magnificent "St. Crispin's Day" speech, Olivier refuses to indulge in excessive personal close-ups, choosing instead to depict the communal impact of his words on the troops. Though he understands the importance of clear, realistic communication, Olivier the director also displays a penchant for artifice-as exemplified by his decision to open the film in a replica of the Globe Theatre. The play's various diplomatic exchanges-usually of the dull, obligatory variety-are enlivened through touches of light comedy: a sly wind blows court papers over the set as courtiers argue over boundaries and treaties. There is also humour to be found in the King's taciturn romancing of Princess Katharine (Renée Asherson). [+]

A hallmark of the science fiction genre as well as a wry commentary on the political climate of the 1950s, The Day the Earth Stood Still is a sci-fi movie less concerned with special effects than with a social parable. A spacecraft lands in Washington, D. C. , carrying a humanoid messenger from another world (Michael Rennie) imparting a warning to the people of Earth to cease their violent behavior. But panic ensues as the messenger lands and is shot by a nervous soldier. His large robot companion destroys the Capitol as the messenger escapes the confines of the hospital. He moves in with a family as a boarder and blends into society to observe the full range of the human experience. Director Robert Wise (West Side Story) not only provides one of the most recognisable icons of the science fiction world in his depiction of the massive robot loyal to his master, but he avoids the obvious camp elements of the story to create a quiet and observant story highlighting both the good and the bad in human nature. -Robert Lane, Amazon. com.

It's set during the Korean War, in a mobile army surgical hospital. But no one seeing MASH in 1970 confused the film for anything but a caustic comment on the Vietnam War; this is one of the counterculture movies that exploded into the mainstream at the end of the 1960s. Director Robert Altman had laboured for years in television and sporadic feature work when this smash-hit comedy made his name (and allowed him to create an astonishing string of offbeat pictures, culminating in the masterpiece Nashville). Altman's style of cruel humour, overlapping dialogue, and densely textured visuals brought the material to life in an all-new kind of war movie (or, more precisely, antiwar movie). Audiences had never seen anything like it: vaudeville routines played against spurting blood, fuelled with open ridicule of authority. The cast is led by Elliott Gould and Donald Sutherland, as the outrageous surgeons Hawkeye Pierce and Trapper John McIntyre, with Robert Duvall as the uptight Major Burns and Sally Kellerman in an Oscar-nominated role as nurse "Hot Lips" Houlihan. The film's huge success spawned the long-running TV series, a considerably softer take on the material; of the film's cast, only Gary Burghoff repeated his role on the small screen, as the slightly clairvoyant Radar O'Reilly. -Robert Horton MASH-a 1970 comedy-drama set among surgeons drafted into the Korean war-was a breakthrough not just for director Robert Altman but for movie-making in general. Although set in the 50s, there are few who did not realise that the film's anti-war messages were directed at the US involvement in Vietnam. Indeed, the Pentagon banned US servicemen from seeing the film. [+]

REGION 2 UK DVD - RARE BURT LANCASTER MOVIE.

Celebrating 25 years since The Five Doctors was originally broadcast, this brand new double disc special edition is a real treat for new and old fans of the show. For not only is the adventure itself good fun, but the special features package is exceptionally strong too. The story - broadcast to celebrate the-then 20th anniversary of Doctor Who - brings five incarnations of the Doctor together. Patrick Troughton, Jon Pertwee and Peter Davison return to their roles, while Richard Hurndall steps in for William Hartnell, and archive footage of Tom Baker is used to cover his decision not to take part in the story. The various generations of the Doctor are then, one by one, brought to the Time Lord's home planet Gallifrey, where they encounter many of their old assistants, and many of their deadliest foes. The story of The Five Doctors proves to be as much a battle about giving everyone something to do, but Terrance Dicks' script does just that, and while it's not one of the Time Lord's very best adventures, it is an entertaining one. The extra features package peaks with the assorted commentary tracks: there's one that brings together a series of Doctor Who assistants, another that unites writer Terrance Dicks with Peter Davison, and a hidden Easter Egg commentary where David Tennant, Phil Collinson and Helen Raynor take the microphone. Each is a fascinating listen, for differing reasons. The Five Doctors DVD is then rounded off with a wide selection of archive material, and a 50-minute documentary looking at Doctor Who's birthday celebrations. And given the wealth of features there is to dig through, it's a release that'll be enjoyed for a long time after both the original and extended cut of the main feature have been viewed. [+]

Novelist James Clavell wrote, produced and directed this 1967 British film (based on the novel by E. R. Braithwaite) about a rookie teacher who throws out stock lesson plans and really takes command of his unruly, adolescent students in a London school. Sidney Poitier is very good as a man struggling with the extent of his commitment to the job, and even more as a teacher whose commitment is to proffering life lessons instead of just academic ones. The spirit of this movie can also be found in more recent films such as Dangerous Minds and Mr. Holland's Opus, but none are as moving as this. Besides, the others don't have a title song performed by Lulu, who also stars. -Tom Keogh.

A truly perfect movie, the 1942 Casablanca still wows viewers today, and for good reason. Its unique story of a love triangle set against terribly high stakes in the war against a monster is sophisticated instead of outlandish, intriguing instead of garish. Humphrey Bogart plays the allegedly apolitical club owner in unoccupied French territory that is nevertheless crawling with Nazis; Ingrid Bergman is the lover who mysteriously deserted him in Paris; and Paul Heinreid is her heroic, slightly bewildered husband. Claude Rains, Sydney Greenstreet, Peter Lorre, and Conrad Veidt are among what may be the best supporting cast in the history of Hollywood films. This is certainly among the most spirited and ennobling movies ever made. -Tom Keogh This generously filled two-disc special edition presentation of Casablanca features the film itself in an impressively clean new digital transfer on the first disc, with hiss-free mono sound. It's prefaced by a rather pointless introduction from Lauren Bacall (it would surely be churlish to point out that Casablanca was made two years before Bacall met Bogart) and accompanied by two full-length and fact-packed audio commentaries, one from film critic Roger Ebert, who hardly pauses to take a breath, and the other from film historian Rudy Behlmer, who provides in-depth background detail. The second disc features a plentiful collection of sundry archival features and more from Bacall, who hosts the two documentaries: You Must Remember This: The Making of Casablanca and a retrospective of Bogie's career, Bacall on Bogart. Of minor interest are two very short deleted scenes-Laszlo and Rick at the jail, and a German officer's pratfall-which in lieu of any surviving audio track have been subtitled from the original script; there's also five minutes of silent outtakes. An audio-only sample of Max Steiner's music-scoring sessions features Dooley Wilson singing "Knock on Wood" and "As Time Goes By". [+]

There's a satisfying sense of closure to the definitive noir kick achieved in The Big Heat: its director, Fritz Lang, had forged early links from German expressionism to the emergence of film noir, so it's entirely logical that the expatriate director would help codify the genre with this brutal 1953 film. Visually, his scenes exemplify the bold contrasts, deep shadows, and heightened compositions that define the look of noir, and he matches that success with the darkly pessimistic themes of this revenge melodrama. The story coheres around the suicide of a crooked cop, and the subsequent struggle of an honest detective, Dave Bannion (Glenn Ford), to navigate between a corrupt city government and a ruthless mobster to uncover the truth. Initially, the violence here seems almost timid by comparison to the more explicit carnage now commonplace in films, yet the story accelerates as its plot arcs toward Bannion's showdown with kingpin Lagana (Alexander Scourby) and his psychotic henchman, the sadistic Vince Stone, given an indelible nastiness by Lee Marvin. When Bannion's wife is killed by a car bomb intended for the detective, both the hero and the story go ballistic: suspended from the force, he embarks on a crusade of revenge that suggests a template for Charles Bronson's Death Wish films, each step pushing Lagana and Stone toward a showdown. Bodies drop, dominoes tumbled by the escalating war between the obsessed Bannion and his increasingly vicious adversaries. Lang's disciplined visual design and the performances (especially those of Ford, Marvin, Jeanette Nolan as the dead cop's scheming widow, and Gloria Grahame as Marvin's girlfriend) enable the film to transcend formula, as do several memorable action scenes-when an enraged Marvin hurls scalding coffee at the feisty Debby (Grahame), we're both shattered by the violence of his attack, and aware that he's shifted the balance of power. -Sam Sutherland.

William Wyler directed this epic Western, about the clash of East and West, intellect and action. Gregory Peck stars as a sea captain who moves way out West to marry Carroll Baker and become part of the ranch owned by her father (Charles Bickford). But he discovers that daddy's top hand (Charlton Heston) carries a torch for Baker and doesn't particularly like Peck stepping into his place. Peck also finds himself caught in the midst of a power struggle between Bickford and his surly neighbour, Burl Ives (and his reprehensibly bullying son, Chuck Connors). The Big Country is a long, sprawling tale that works because its characters are played by movie stars who know how to command the big screen in a big story. -Marshall Fine.

Tomb of the Cybermen brought the Doctor, Patrick Troughton, into conflict with his silver cyborg nemeses for a third time, following The Tenth Planet (1966) and The Moonbase (1967). The Doctor, Jamie (Frazer Hines) and Victoria (Deborah Watling) join an archaeological expedition on the planet Telos, where they encounter deathtraps, betrayal and a waiting army of frozen Cybermen. Scripted by Kit Pedlar and Gerry Davis, who would later write Doomwatch (1970-72), many of the essentials of the plot anticipate James Cameron's blockbusting Aliens (1986): the barren planet with abandoned city, the tense wait for a rescue ship, the human traitors, the implacable, more powerful enemy. Unfortunately for a story so centred on logic the characters display a worrying lack of sense; the supposedly highly logical villains assume the Cybermen will just do what they tell them, and the Doctor locks the chief human traitor in a room without first checking it for ray guns! There's also an astonishingly crass racial stereotype with the one black character, Toberman (Roy Stewart) being a muscle-bound, slave-like henchman. Flaws aside this is a superior Doctor Who adventure and a thoroughly entertaining piece of classic television. On the DVD: as ever the BBC have done a fabulous job bringing Doctor Who to DVD, with fully restored sound and picture making Tomb Of The Cybermen the best it has ever looked. A short feature on the disc notes there have been over 16,000 repairs to the image, and includes comparison footage with the unrestored prints. The black and white 4:3 picture is as good as low-budget 1960's television is ever going to look and the mono sound is excellent. The commentary by Frazer Hines and Deborah Watling is a little stilted and takes time to get going-often they just don't know what to say-but contains some interesting trivia for serious fans. Rather more information comes from the detailed production background subtitles, and from a 28-minute convention style panel filmed in 1992 with Hines, Watling and many of the production crew. [+]