1977's A Bridge Too Far by director Richard Attenborough features an all-star cast in an epic rendering of a daring but ultimately disastrous raid behind enemy lines in Holland during the Second World War. A lengthy and exhaustive look at the mechanics of warfare and the price and futility of war, the film is almost too large for its aims but manages to be both picaresque and affecting, particularly in the performance of James Caan. The impressive cast includes Robert Redford, Gene Hackman, Anthony Hopkins, Laurence Olivier, Dirk Bogarde, Sean Connery and Liv Ullmann among others. While not a classic war film, it nevertheless manages to be a consistently interesting and exciting adventure. -Robert Lane.

In 1960 producer-director George Pal's The Time Machine reshaped HG Wells' thoughtful, ironic novel into a two-fisted action movie, but one that still appeals to children and adults immensely and deserves its classic status. Wells' themes of biological and social evolution are played down, but there is a surprisingly melancholy thread as Rod Taylor's Time Traveller keeps stopping off at future wars to find that human stupidity still persists. In the first week of 1900 a group of fussy Victorians gather in Taylor's chintzy, overstuffed parlour to hear him tell of his expedition to the future, where the world is divided between the surface-dwelling, childish, beautiful Eloi and the hideous, underground, cannibal Morlocks. Wells intended both factions to seem degenerate, the logical final evolution of the class system, but Pal has Taylor pull a Captain Kirk and side with the Eloi and teach them to fight against their oppressors. The time travel sequence remains a tour de force, with a shop window mannequin demonstrating a parade of fashions as the years fly by in seconds and charming but still-effective stop-motion effects. The future is a wonderfully coloured landscape with properly gruesome cave-dwelling monsters and a winning Eloi heroine in Yvette Mimieux. It may not be totally Wells, but it's a treat. On the DVD: The Time Machine arrives on disc in a lovely widescreen print which makes the film seem new all over again. The featurette "Time Machine: The Journey Back" combines some mild behind-the-scenes stuff about the film (and its star prop) with a moving mini-sequel reuniting stars Rod Taylor and Alan Young in a scene that actually addresses a plot point skipped over in the original. -Kim Newman.

Very few first-time film directors would have been capable of making such a triumphant adaptation of Henry V; but a still-youthful Kenneth Branagh's years of stage experience paid off handsomely and his 1989 version qualifies as a genuine masterpiece, the kind of film that comes along once in a decade. He eschews the theatricality of Laurence Olivier's stirring, fondly remembered 1945 adaptation to establish his own rules: Branagh plays it down and dirty, seeing the Bard's play through revisionist eyes, framing it as an anti-war story in contrast to Olivier's patriotic spectacle. Branagh gives us harsh close-ups of muddied, bloody men, and of himself as Henry, his hardened mouth and wilful eyes revealing much about the personal cost of war. Not that the director-star doesn't provide lighter moments: his scenes introducing the French Princess Katherine (Emma Thompson) trying to learn English quickly from her maid are delightful. What may be the crowning glory of Branagh's adaptation comes when the dazed leader wanders across the battlefield, not even sure who has won. As King Hal carries a dead boy (a young Christian Bale) over the hacked bodies of both the English and French, a panorama of blood and mud and death greet the viewer as Branagh opens up the scene and Patrick Doyle's rousing hymn "Non nobis, Domine" provides marvellous counterpoint (like the director, the composer was another filmic first-timer). A more potent expression of the price of victory could scarcely be imagined. -Rochelle O'Gorman, Amazon. com.

By far the best thing about director Michael Hoffman's A Midsummer Night's Dream is the extraordinary all-star cast, which follows the precedent created by Kenneth Branagh's Italian-set romantic Shakespeare comedy, Much Ado About Nothing (1993), of mixing major Hollywood stars-here Kevin Kline and Michelle Pfeiffer-with top British talent, in this instance Christian Bale, Rupert Everett, Roger Rees, David Strathairn and Dominic West. Kline makes a fine Nick Bottom, with Pfeiffer equally good as the fairy queen Titania and Everett brooding effectively as Oberon. Unfortunately, while both look ravishing, it is hard to tell which actress between Anna Friel (Brookside) and Calista Flockhart (Ally McBeal) gives the most wretched performance. Both are completely out of their depth the moment they begin to speak, and utterly outclassed by the excellent Sophie Marceau. Shot in Tuscany and set in the 19th century, parts of the film are extraordinarily beautiful, while other sections could have benefited from some judicious special effects magic. This is not a bad movie, but it is rather uninspired, lacking any real imaginative grasp of the play. In contrast, the much less well known and lower budget Royal Shakespeare Company version of 1996 positively revels in the fantastically surreal possibilities this timeless text. -Gary S Dalkin.

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. Critically hailed as an instant classic, Clint Eastwood's Letters from Iwo Jima is a masterwork of uncommon humanity and a harrowing, unforgettable indictment of the horrors of war. In an unprecedented demonstration of worldly citizenship, Eastwood (from a spare, tightly focused screenplay by first-time screenwriter Iris Yamashita) has crafted a truly Japanese film, with Japanese dialogue (with subtitles) and filmed in a contemplative Japanese style, serving as both complement and counterpoint to Eastwood's previously released companion film Flags of Our Fathers. [+]

Seven Brides for Seven Brothers, starring MGM soprano Jane Powell and handsome baritone Howard Keel, has retained a remarkably loyal following among fans of the musical film ever since its release in 1954. Although it was filmed in state-of-the-art CinemaScope, Stanley Donen was obliged to direct much of the film on Metro's sound stages, where the artificial sets and painted backdrops don't inevitably live up to the scenes shot on location in Oregon. Viewers coming fresh to the picture may find this visual discrepancy jarring and some too may find Miss Powell's singing a shade plummy. The screenplay, by husband and wife team Albert Hackett and Frances Goodrich with Dorothy Kingsley, tells the story of seven brothers living in the Oregon hills and their adventures to find themselves wives. The casting of each brother with his rugged, masculine looks and ability to dance with grace and athleticism, presided over by an authoritative Howard Keel, gives the film a dynamic impetus second to none in an MGM musical. The lengthy barn-raising episode under choreographer Michael Kidd's intrepid direction, where the music and the incredibly agile and energetic male and female dance ensemble unite as one, produces a square dance without parallel. The music and lyrics by Gene De Paul and Johnny Mercer-including the mating chorus, "Spring, Spring, Spring", the rollicking "Bless You're Beautiful Hide", the rousing "Sobbin' Women" and the visually enchanting "June Bride"-are both tuneful and mindful of the plot's exposition. Adolph Deutsch and Saul Chaplin won the Academy Award in 1954 for their arrangements and conducting. On the DVD: The digital remastering has created a clearer picture of what had been a faintly muddy Ansco colour system on the original print while the polish and attack with which the MGM Studio Orchestra play the music on this full-bodied stereophonic soundtrack remains a thing of wonder. Howard Keel, standing tall and erect in his 80s, hosts the "making of" documentary. [+]

Forefather of Rowan Atkinson's Mr. Bean, Jacques Tati's Monsieur Hulot-a recurring character in several of his movies-is a blithely clumsy troublemaker, an insouciant twit who leaves uproar in his wake without being aware of it. Trying to describe this 1953 comedy is next to impossible except to say it is a series of vignettes at a vacation resort, with the distracted Hulot providing a lot of laughs. Tati directs, and in a way what that really means is that he composes this movie with a perfect eye and ear for the comic possibilities in everything: composition, lighting, minimal marble-mouth dialogue, certain sounds (a duck call, a door repeatedly opening and shutting). This is a superior work that ranks among all-time classic comedies. -Tom Keogh.

This 1953 musical is very much a vehicle for Doris Day, in the title role, as a wild cowgal who can out-shoot and out-sing any boy on the range. When an actress arrives in Deadwood and uses her feminine charms on Jane's secret love, Wild Bill Hickock (Howard Keel), Jane tries to mend her tomboy ways. Not exactly up to the feminist code of honour, this is still energetic and Day is very perky. Of course, one could almost detect a homosexual undercurrent with the cross-dressing Jane, but this was Hollywood in the 1950s, so we best not. Calamity Jane won an Oscar for Best Song-"Secret Love", by Sammy Fain and Paul Francis Webster. -Rochelle O'Gorman.

Rarely has The Merchant of Venice, one of Shakespeare's most complex plays, looked as ravishingly sumptuous as in this adaptation, directed by Michael Radford (Il Postino). In a decadent version of renaissance Venice, a young nobleman named Bassanio (Joseph Fiennes, Shakespeare in Love) seeks to woo the lovely Portia (Lynn Collins), but lacks the money to travel to her estate. He seeks support from his friend, the merchant Antonio (Jeremy Irons); Antonio's fortune is tied up in sea ventures, so the merchant offers to borrow money from a Jewish moneylender, Shylock (Al Pacino). But Shylock holds a grudge against Antonio, who has routinely treated the Jew with contempt, and demands that if the debt is not repaid in three months, the price will be a pound of Antonio's flesh. The Merchant of Venice is famous as a "problem play"-the gritty matters of moneylending and anti-Semitism sit uncomfortably beside the fairy tale elements of Portia and Bassanio's romance, and some twists of the plot can seem arbitrary or even cruel. The strength of Radford's intelligent and passionate interpretation is that he and the excellent cast invest the play's opposing facets with full emotional weight, thus making every question the play raises acute and inescapable. Irons is particularly compelling; kindness and blind prejudice sit side by side in his breast, rendering the clashes in his character as vivid as those in the play itself. -Bret Fetzer, Amazon. com.

There's something about this film that's so irresistible, despite its grandiose manipulation. Maybe because it recounts the greatest air battle in history, achieving the greatest aerial battle in film history. Maybe because it has such a terrific cast (Harry Andrews, Michael Caine, Trevor Howard, Curt Jurgens, Laurence Olivier, Nigel Patrick, Christopher Plummer, Michael Redgrave, Ralph Richardson, Robert Shaw, Patrick Wymark, and Edward Fox). Maybe because it's so technically well-made, thanks to the Bond team of producer Harry Saltzman and director Guy Hamilton and the great cinematographer Freddie Young. Or maybe because there is something truly riveting about watching the British kick the Nazis back to Germany. -Bill Desowitz.

Scorned by reviewers when it came out, Where Eagles Dare has acquired a cult following over the years for its unashamed and highly concentrated dose of commando death-dealing to legions of Nazi machine-gun fodder. In 1968 Clint Eastwood was just getting used to the notion that he might be a world-class movie star; Richard Burton, whose image had been shaped equally by classical theatre and his headline-making romance with Elizabeth Taylor, was eager to try his hand at the action genre. Author Alistair MacLean's novel The Guns of Navarone had inspired the film that started the 1960s vogue for World War II military capers, so he was prevailed upon to write the screenplay (his first). The central location, an impregnable Alpine stronghold locked in ice and snow, is surpassing cool, but the plot and action are ultra-mechanical, and the switcheroo gamesmanship of just who is the undercover double (triple?) agent on the mission becomes aggressively silly. -Richard T Jameson.

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. [+]

Blarney and bliss, mixed in equal proportions. John Wayne plays an American boxer who returns to the Emerald Isle, his native land. What he finds there is a fiery prospective spouse (Maureen O'Hara) and a country greener than any Ireland seen before or since-it's no surprise The Quiet Man won an Oscar for cinematography. It also won an Oscar for John Ford's direction, his fourth such award. The film was a deeply personal project for Ford (whose birth name was Sean Aloysius O'Fearna), and he lavished all of his affection for the Irish landscape and Irish people on this film. He also stages perhaps the greatest donnybrook in the history of movies, an epic fistfight between Wayne and the truculent Victor McLaglen-that's Ford's brother, Francis, as the elderly man on his deathbed who miraculously revives when he hears word of the dustup. Barry Fitzgerald, the original Irish elf, gets the movie's biggest laugh when he walks into the newlyweds' bedroom the morning after their wedding, and spots a broken bed. The look on his face says everything. The Quiet Man isn't the real Ireland, but as a delicious never-never land of Ford's imagination, it will do very nicely. -Robert Horton.

David Lean's handsome adaptation of Charles Dickens' classic novel captures the warm humour and richness of character that so many film-makers miss in their reverent recreations of Victorian England. From the nightmarish opening sequence on the windswept graveyard where young orphan Pip (Anthony Wager) meets the desperate escaped criminal Magwitch (Finlay Currie) to the shadowy, musty mansion of the widow Miss Haversham (Martita Hunt) where he first meets the impertinent young beauty Estella (Jean Simmons), Lean captures a child-like exaggeration of reality with his elegant expressionism. When Pip's sudden change in fortune sends him to London as a burgeoning gentleman in high society, Lean sketches a beautiful, bustling city. John Mills's performance as the adult Pip charts his change from the wide-eyed wonder and generous spirit of the child he was to the class snob transformed by money and social standing, an ugly flaw that Pip confronts when his mysterious benefactor is finally revealed. The outstanding cast also features Valerie Hobson as the grown-up Estella, now a beguiling enchantress, a bright young Alec Guinness in his film debut as Pip's jovial London roommate Herbert Pocket, and the imposing Francis L. Sullivan as the decidedly humourless lawyer Jaggers. Exquisitely photographed by Guy Green (who won an Oscar for his work). Lean and his collaborators effectively maintain the heart of Dickens's epic drama while cutting it to its essentials in this vivid, compelling film. -Sean Axmaker, Amazon. com.

This was only Ken Loach's second cinema feature but it still ranks as one of his finest and most moving films. Billy, a disaffected young lad living on a soulless Barnsley estate, finds a fledgling kestrel and, for the first time in his life, feels his imagination gripped. With infinite patience-and a book on falconry nicked from a local bookstore-he starts to train the bird. There's no boy-and-his-pet sentimentality here: the relationship between Kes the bird and the puny, taciturn Billy is the kinship, full of wary respect, between two wild creatures, and when Kes for the first time flies free and returns to Billy's wrist, the sense of exhilaration is overwhelming. Although Loach never rams his message home, it's clear that Billy stands for a whole generation of youngsters whose potential, barring some such chance event, will never be even fractionally realised. Chris Menges' photography brings out all the austere beauty of the Yorkshire locations, and Loach draws believable performances from his largely non-professional cast-especially the 14-year-old David Bradley, stunningly convincing as Billy. And anyone who has ever suffered under a bullying, self-satisfied sports teacher will squirm with recognition at the brilliant cameo from the late Brian Glover. -Philip Kemp.

Hilarious, tacky black comedy from 1960 that may be the best film by B-picture master Roger Corman, other than Bucket of Blood, made about the same time with the same writer, Charles Griffith. Seymour (Jonathan Haze) is an assistant in a skid-row flower shop who's on the point of losing his job when the unusual plant he's developed turns the store into a major attraction. The only problem is that the plant needs human blood to live, all the while crying, "Feed me! FEED ME!" Luckily, Seymour causes a series of inadvertent deaths that more than make up for the food shortage. Jack Nicholson provides a comic sidebar as a masochistic nutter visiting a dentist's office. Giggling and wild-eyed from the same impulse that might lead others to read scandal sheets, he can be seen in the dentist's waiting room reading aloud from Pain magazine. Famous for having the shortest shooting schedule on record (two days and a night), The Little Shop of Horrors spawned an off-Broadway musical that was in turn made into a successful film in 1986, starring Rick Moranis and Steve Martin. It was in just this quick-shoot atmosphere that Corman nurtured the careers of many of America's most celebrated film directors; this little shop of honours included Francis Ford Coppola, Peter Bogdanovich, Martin Scorsese, and Jonathan Demme. -Jim Gay.

Dating from 1969, Butch Cassidy and the Sundance Kid has never lost its popularity or its unusual appeal as a star-driven Western that tinkers with the genre's conventions and comes up with something both terrifically entertaining and-typical of its period-a tad paranoid. Paul Newman plays the legendary outlaw Butch Cassidy as an eternal optimist and self-styled visionary, conjuring dreams of banks just ripe for the picking all over the world. Robert Redford is his more level-headed partner, the sharp-shooting Sundance Kid. The film, written by William Goldman (The Princess Bride) and directed by George Roy Hill (The Sting), basically begins as a freewheeling story about robbing trains but soon becomes a chase as a relentless posse-always seen at a great distance like some remote authority-forces Butch and Sundance into the hills and, finally, Bolivia. Weakened a little by feel-good inclinations (a scene involving bicycle tricks and the song "Raindrops Keep Falling on My Head" is sort of Hollywood flower power), the film maintains an interesting tautness, and the chemistry between Redford and Newman is rare. (A factoid: Newman first offered the Sundance part to Jack Lemmon. ) -Tom Keogh, Amazon. com On the DVD: This anamorphic widescreen print of the 2. 35:1 Panavision original looks marvellously crisp, highlighting the sepia tinting and washed-out, over-exposed look of the film nicely and making the best of the deep focus cinematography. The mono soundtrack sounds clean and clear in Dolby 2. [+]

Franco Zeffirelli's 1968 adaptation of Shakespeare's Romeo and Juliet was unique in its day for casting kids in the play's pivotal roles of, well, kids. Seventeen-year-old Leonard Whiting and 15-year-old Olivia Hussey play the titular pair, the Bard's star-crossed lovers who defy a running feud between their families in order to be together in love. Typically played on stage and in previous film productions by adult actors, the innocent look and rawness of Whiting and Hussey resonated at the time with a burgeoning youth movement from San Francisco to Prague. The tragic romance at the centre of the story also clicked with anti-authority sentiments, but even without that, Zeffirelli scores points by validating the ideals and passions of strong-willed adolescents. Less successful are scenes requiring the actors to have a fuller grasp of the text, though the best thing going remains the unambiguous duel between Romeo and Tybalt (Michael York). Lavishly photographed by Pasquale de Santis on location in Italy, this Romeo and Juliet brought a different tone and dimension to a story that had become tiresome in reverential presentations. -Tom Keogh.