The title of 1969's Carry On Again Doctor says it all; almost the same cast playing similar characters to their previous year's outing in Carry On Doctor. This one rejoices in the alternative title "Bowels are Ringing". But the enduring popularity of these films owes almost everything to their basic formula and if it occasionally seems a bit cobbled together, all the old favourites are still here. This time, the setting moves from the National Health Service to the private sector and even stretches as far as the "Beatific Islands" when Jim Dale is exiled to a missionary clinic for his overzealous attention to the female patients-who include Barbara Windsor of course. There, orderly Sid James rules the roost of the clinic with his harem of local women. Trivia addicts can spot Mrs Michael Caine in a brief role as a token dusky maiden. The second half of the Talbot Rothwell script picks up nicely as the characters converge on the private hospital back in England where Dale rakes in the money with a bogus weight loss treatment. Hattie Jacques is in fine form as Matron, Kenneth Williams fascinates with his usual mass of mannerisms and Joan Sims is stately as the Lady Bountiful figure financing most of the shenanigans. It's a tribute to their professionalism that we can still lose ourselves in some of the creakiest old jokes around. -Piers Ford.

The Doctor Who adventure "Carnival of Monsters" finds Jon Pertwee's third Doctor and Jo Grant (Katy Manning) materialising on the SS Bernice in the Indian Ocean in 1926, on the very day the ship is about to give rise to a famous sea mystery. Passengers and crew, including Ian Marter (who would return as companion Harry Sullivan two years later), are reliving the same few moments over and over again, and there is a plesiosaur in the ocean. Meanwhile two travelling show people, Vorg (Leslie Dwyer), and Shirna (Cheryl Hall), have arrived on the bureaucracy laden planet Inter Minor with an illegal Miniscope peepshow. In a variation on the miniaturisation plot of Fantastic Voyage (1966), and harking back to Doctor Who's own "Planet of the Giants" story from 1964, the Doctor and Jo have materialised within the Miniscope's compression field and are trapped inside. For company they have the ferocious alien Drashigs while outside the machine a potentially devastating conspiracy is afoot. As the second story in the 10th season of Doctor Who, this fast-moving, witty and surreal adventure slots into series continuity between "The Three Doctors" and "Frontier in Space". A long-time fan favourite, the four-part thriller remains one of the most enjoyable of the Jon Pertwee era stories. On the DVD: Doctor Who: Carnival of Monsters on DVD has an excellent 4:3 image and mono sound far better than was ever heard on the original broadcasts. Heading a massive range of extras is a commentary with Katy Manning being wonderfully enthusiastic and producer-director Barry Letts getting a little more technical. There are English subtitles not only for the episodes but also for the commentary, as well as a separate on-screen information text option. [+]

Anyone who fought in Vietnam can tell you that the war bore little resemblance to this propagandistic action film starring and codirected by John Wayne. But Green Berets itself is not nearly as bad as its reputation would suggest; critics roasted its gung-ho politics while ignoring its merits as an exciting (if rather conventional and idealistic) war movie. Some notorious mistakes were made-in the final shot, the sun sets in the east!-and it's an awkward attempt to graft WWII heroics onto the Vietnam experience. But as the Duke's attempt to acknowledge the men who were fighting and dying overseas, it's a rousing film in which Wayne commands a regiment on a mission to kidnap a Viet Cong general. David Janssen plays a journalist who learns to understand Wayne's commitment to battling Communism, and Jim Hutton (Timothy's dad) plays an ill-fated soldier who adopts a Vietnamese orphan. -Jeff Shannon.

It's Dr. Strangelove, but without the laughs. Fail-Safe, made within a year of Strangelove and at the height of cold war atomic anxiety, posits a similar nightmare scenario. A U. S. bomber is accidentally ordered toward Moscow, ready to drop its load. The U. S. president (Henry Fonda) and various military and congressional leaders must then scramble to deal with the disaster. The built-in suspense is well maintained by director Sidney Lumet, working from a script by former black-listed writer Walter Bernstein. [+]

Patty Duke and Anne Bancroft had been playing their respective roles as Helen Keller and her teacher, Annie Sullivan, on Broadway for some time before director Arthur Penn (The Left-Handed Gun) built a mesmerisingly beautiful film around their layers-deep performances. Duke is astonishing as the deaf, blind, mute Keller, who awakens to an awareness of language under Sullivan's determined guidance. Bancroft is fascinating and focused. Penn wisely kept his adaptation unencumbered by cinematic indulgence. The black-and-white film is sparse and charged with the immediacy of the drama. The Miracle Worker's script is by William Gibson, who also wrote the original play. -Tom Keogh.

Claude Rains practically owns his film debut in The Invisible Man, despite the fact that his face (let alone his body) is seen only for seconds in the final moments. As the brilliant scientist who discovers the secret of invisibility, Rains steps into the film wrapped up like a mummy behind a layer of bandages and blanketed in heavy clothes. When he removes his garments, there's nothing underneath, a simple but effective bit of 1930s movie magic that, apart from a few glitches, works as well today as it did in 1933. Like Frankenstein, another cautionary tale of science gone horribly wrong, the consequences of the doctor's experiments are dire: the chemicals drive him insane. Director James Whale infuses the film with plenty of humour, much of it arising from the quaint quirks of the local villagers, but it turns to black comedy as the doctor transforms from an impish prankster upsetting bicycles and taunting tavern patrons to a megalomaniac bent on world domination. It's slow going even at 71 minutes, but full of delightful touches and boasts a terrific performance by the all but unseen Rains, whose rich, cultured voice envelopes the picture in a kind of omnipresent fog. Vincent Price took up the role in the sequel, The Invisible Man Returns. -Sean Axmaker.

The Entertainer of the title is Archie Rice, a mediocre music hall artist upholding a dying tradition in an English seaside against a background of the 1956 Suez Crisis. Laurence Olivier stars and is supported by a superb cast including a young Alan Bates as his son, Roger Livesey as his kindly, now retired, always more talented and popular father, and Joan Plowright as his daughter (who, ironically given the story, married Olivier the following year). Albert Finney makes his screen debut in a tiny role and the remarkable cast also features Daniel Massey, Shirley Anne Field, Thora Hird and Charles Gray. Archie himself is a hollow man who brings pain to all around him, and while Olivier's brilliant performance reveals the layers of cynicism which disguise the emptiness inside, the emotional resonance lies with those forced to endure Rice's manipulations, adulteries and deceits. On stage John Osborne's play proved to be a signature part for Olivier, and director Tony Richardson-who filmed Osborne's equally sour Look Back In Anger (1958)-handles the material with unvarnished realism. Unfolding like a dark variation on Chaplin's Limelight (1952), the film equally casts a shadow over the less stellar Tony Hancock vehicle The Punch and Judy Man (1963), ultimately working as both family tragedy and allegory for a declining post-war England. Surprisingly an American 1976 TV movie remake starring Jack Lemmon held its own against this minor British classic. On the DVD: The Entertainer is presented letterboxed at 1. 66:1, and sourced from an excellent print preserves the look of the original black and white cinematography very well. Even so a little material is clipped from either side of the image, though this is most notable on the left of the picture. [+]