Thank goodness for second seasons. While the first season of The Office USA started dubiously with a pilot that was just a poor copy of the original Ricky Gervais version, it did manage to provide enough good material to stay on the air and hint that better was yet to come. And here it is. The second season of The Office USA finds its own footing and manages to do the near-impossible by not only breaking free of the gravity of that excellent BBC version to stand solidly on its own, but establishing it as one of the best comedies on TV. Season 2 starts out strong with "The Dundies," where Regional Manager, Michael Scott (Steve Carell, The 40 Year Old Virgin) hosts the company's annual office-awards event with his signature less-than-perfect grace. Things seem to only get worse for him this season as he bumbles a potential affair with his boss, Jan (Melora Harding), angers his employees by reading their emails ("Email Surveillance"), cooks his foot ("The Injury"), and accidentally destroys the warehouse with a forklift in "Boys and Girls," one of the season's highlight episodes. Always at his side is the clueless paranoid Dwight Schrute (Rainn Wilson), the Assistant Regional Manager ("Assistant to the Regional Manager," Michael always reminds him in one of the show's running jokes). One of the reasons for the show's improvement in the second season is increased focus on Dwight's character, who's becoming something of a pop-culture icon right down to having his own bobblehead. He in turn provides so much good material for Pam (Jenna Fischer) and Jim (John Krasinsky) to play off of, to their own amusement. But of course, Pam and Jim's simmering relationship is the real meat of the show, as their compatibility becomes more obvious, Jim's feelings for her continue to grow, and Pam struggles with the impending marriage to her less-than-caring boyfriend, Roy (David Denman). [+]

It's no disparagement to describe Simon Pegg and Edgar Wright's zombie-rom-com Shaun of the Dead as playing like an extended episode of Spaced. Not only does the movie have the rather modest scope of a TV production, it also boasts the snappy editing, smart camera moves, and deliciously post-modern dialogue familiar from the sitcom, as well as using many of the same cast: Pegg's Shaun and Nick Frost's Ed are doppelgangers of their Spaced characters, while Jessica Stevenson and Peter Serafinowicz appear in smaller roles. Unlike the TV series, it's less important for the audience to be in on the movie in-jokes, though it won't hurt if you know George Romero's famous Dawn of the Dead trilogy, which is liberally plundered for zombie behaviour and mythology. Shaun is a loser, stuck in a dead-end job and held back by his slacker pal Ed. Girlfriend Liz (Kate Ashfield) is exasperated by his lack of ambition and unceremoniously dumps him. As a result, Shaun misses out on what is apparently the end of the world. In a series of beautifully choreographed and edited scenes, including hilarious tracking shots to and from the local shop, he spectacularly fails to notice the death toll and subsequent zombie plague. Only when one appears in their back garden do Shaun and Ed take notice, hurling sundry kitchen appliances at the undead before breaking out the cricket bat. The catastrophe proves to be the catalyst for Shaun to take charge of his life, sort out his relations with his dotty mum (Penelope Wilton) and distant stepdad (Bill Nighy), and fight to win back his ex-girlfriend. Lucy Davis from The Office and Dylan Moran of Black Books fame head the excellent supporting cast. [+]

Could this be the funniest movie ever made? By any rational measure of comedy, this medieval romp from the Monty Python troupe certainly belongs on the short list of candidates. According to Leonard Maltin's Movie & Video Guide, it's "recommended for fans only," but we say hogwash to that-you could be a complete newcomer to the Python phenomenon and still find this send-up of the Arthurian legend to be wet-your-pants hilarious. It's basically a series of sketches woven together as King Arthur's quest for the Holy Grail, with Graham Chapman as the King, Terry Gilliam as his simpleton sidekick Patsy, and the rest of the Python gang filling out a variety of outrageous roles. The comedy highlights are too numerous to mention, but once you've seen Arthur's outrageously bloody encounter with the ominous Black Knight (John Cleese), you'll know that nothing's sacred in the Python school of comedy. From holy hand grenades to killer bunnies to the absurdity of the three-headed knights who say "Ni-!," this is the kind of movie that will strike you as fantastically funny or just plain silly, but why stop there? It's all over the map, and the pace lags a bit here and there, but for every throwaway gag the Pythons have invented, there's a bit of subtle business or grand-scale insanity that's utterly inspired. The sum of this madness is a movie that's beloved by anyone with a pulse and an irreverent sense of humor. If this movie doesn't make you laugh, you're almost certainly dead. -Jeff Shannon.

Delivering exactly what its title promises, this celebration of stupidity was Jim Carrey's 1994 follow-up to Ace Ventura: Pet Detective and The Mask. The film pairs the rubber-faced wacky man with Jeff Daniels as the not-so-dynamic duo of Lloyd and Harry, dunderheads who come into the possession of a briefcase containing ransom money that is intended for Mob-connected kidnappers. Lauren Holly co-stars as the woman who lost the briefcase, and with whom Carrey falls in love (both in real life and as his moronic on-screen character). As Lloyd and Harry make a mad dash to return the briefcase (never aware of its contents), the bumbling buddies attract Mobsters, cops, and trouble galore. This lowbrow laugh-a-thon scores some solid hits for hilarity, but with gags involving ill-fated parakeets, buxom bimbos, and an overdose of laxatives, be prepared to put your brain-and good taste-on hold. -Jeff Shannon.

The Big Lebowski, a casually amusing follow-up from the prolifically inventive Coen brothers (Ethan and Joel), seems like a bit of a lark and the result was a box-office disappointment. It's lazy plot is part of its laidback charm. After all, how many movies can claim as their hero a pot-bellied, pot-smoking loser named Jeff "The Dude" Lebowski (Jeff Bridges) who spends most of his time bowling and getting stoned? And where else could you find a hair-netted Latino bowler named Jesus (John Turturro) who sports dazzling purple footgear, or an erotic artist (Julianne Moore) whose creativity consists of covering her naked body in paint, flying through the air in a leather harness, and splatting herself against a giant canvas? Who else but the Coens would think of showing you a camera view from inside the holes of a bowling ball, or an elaborate Busby Berkely-styled musical dream sequence involving a Viking goddess and giant bowling pins? The plot-which finds Lebowski involved in a kidnapping scheme after he's mistaken for a rich guy with the same name-is almost beside the point. What counts here is a steady cascade of hilarious dialogue, great work from Coen regulars John Goodman and Steve Buscemi, and the kind of cinematic ingenuity that puts the Coens in a class all their own. -Jeff Shannon.

When Peep Show arrived on our screens back in 2003, we were treated to a unique and original comedy by its partakers David Mitchell and Robert Webb. Now, two series later, Peep Show has become somewhat of a cult hit. Well, here's an opportunity to see where it all began back with series one-possibly the best of the lot. Mitchell and Webb have been performing together for some time and it really shows; their comedic timing and on-screen relationship allowing you to feel for Mark (Mitchell) and Jeremy (Webb) as they plunders through their lives, trying to find love, and sex. But the real joy of the first series is in watching how their idea-to follow the story through the eyes of the two main protagonists, Mark and Jeremy-comes to fruition on screen. It's a marvellous concept that works so well, being both unique and riotously funny at the same time. It's helped by a strong supporting cast-notably Olivia Colman (starring as Mark's lusted after colleague Sophie) who has since gone on to star in series such as the equally successful Green Wing. Peep Show is unique, different and, most importantly of all, a hoot. And with a bunch of decent extras on the disc, this is well worth picking up. -Mark Oakley.

In the fourth season of Home Improvement, the Taylor family faces some important milestones. Tim (Tim Allen) turns 40, Jill (Patricia Richardson) is laid off from work and pursues her Master's Degree and youngest son Mark (Taran Noah Smith) slowly begins to outgrow precocious middle brother Randy (Jonathan Taylor Thomas). (Oldest sibling Brad, played by Zachery Ty Bryan, remains pretty much the same confident kid he always was. ) As for their inner circle, Tim's Tool Time buddy Al (Richard Karn) gets an ego boost when he's named one of Detroit's hottest bachelors, and little seen but often heard neighbor Wilson (Earl Hindman) goes on his first date in two decades. Add Debbe Dunning, who replaces Pamela Anderson as the new Tool Time girl, and you've got the makings of another solid season. When the ABC sitcom aired during the 1994-1995 TV season, it did well enough to place in the Top 5 for the fourth consecutive year. And aside from some pop culture giveaways (Jill's clothes; Randy's use of a floppy disc to backup his computer), the warmth and humour exuded in this 25-episode, 3-disc set hold up remarkably well. Like Everybody Loves Raymond minus the screeching mother-in-law, Home Improvement is driven by the classic combination of a sensible wife married to a silly man-child husband who thinks about himself first, even when he doesn't intend to. When Jill wants to go back to school so she can become a therapist, Tim isn't supportive. At first it appears he just doesn't want any changes. [+]

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.

If you were to argue Mel Brooks' Young Frankenstein ranks among the top-10 funniest movies of all time, nobody could reasonably dispute the claim. Spoofing classic horror in the way that Brooks' previous film Blazing Saddles sent up classic Westerns, the movie is both a loving tribute and a raucous, irreverent parody of Universal's classic horror films Frankenstein (1931) and Bride of Frankenstein (1935). Filming in glorious black and white, Brooks recreated the Frankenstein laboratory using the equipment from the original Frankenstein (courtesy of designer Kenneth Strickfaden), and this loving attention to physical and stylistic detail creates a solid foundation for non-stop comedy. The story, of course, involves Frederick Frankenstein (Gene Wilder) and his effort to resume experiments in re-animation pioneered by his late father. (He's got some help, since dad left behind a book titled How I Did It. ) Assisting him is the hapless hunchback Igor (Marty Feldman) and the buxom but none-too-bright maiden Inga (Teri Garr), and when Frankenstein succeeds in creating his monster (Peter Boyle), the stage is set for an outrageous revision of the Frankenstein legend. With comedy highlights too numerous to mention, Brooks guides his brilliant cast (also including Cloris Leachman, Madeline Kahn, Kenneth Mars and Gene Hackman in a classic cameo role) through scene after scene of inspired hilarity. Indeed, Young Frankenstein is a charmed film, nothing less than a comedy classic, representing the finest work from everyone involved. Not one joke has lost its payoff, and none of the countless gags have lost their zany appeal. From a career that includes some of the best comedies ever made, this is the film for which Mel Brooks will be most fondly remembered. [+]

The debates have already been raging across the Internet over whether Family Guy has peaked, whether it's the funniest show on television at the moment, and whether it's better than The Simpsons, or some way behind it. Yet while most will agree that season five isn't the best the show's creators have produced, don't let that blind you to the sheer joy contained within this DVD set. The highlights of Family Guy for many, of course, are Stewie the ingenious baby and the family's dog Brian (arguably the sanest one of the lot), and both are in fine form here. And while this series again allows many of the supporting characters a space in the limelight, it's Stewie and Brian who remain responsible for some of Family Guy's funniest moments. Bluntly, there are plenty of them. Still, there's little getting away from the fact that season five lacks the spark that energised the superb first two or three series, and as a result, there are episodes here that are good where they were once great. There are, still, plenty of examples of the old magic, and it's still primarily a real pleasure that's pretty much guaranteed to raise laughs from those who don't mind their entertainment with a bit of edge. But it'll be interesting to see where Family Guy goes from here, and whether its real glory days are permanently consigned to the past. -Jon Foster.

The second series of I'm Alan Partridge finds the Norwich-based former celebrity "bouncing back" from being "clinically fed up" after gorging on medium-sized Toblerone bars and driving to Dundee in his bare feet. He's finally moved out of the soul-destroying Linton Travel Tavern and into a well-appointed static caravan while his luxurious suburban mansion is being constructed. Sales of his new autobiography might charitably be described as slow, but Alan has the third best slot on Radio Norwich, a cable-TV military-based quiz show and a Ukrainian girlfriend called Sonja with whom he has sex at least twice a day. Life is good. And with old pal Michael comfortably installed behind the counter at the local BP garage, Alan can drop in for a chat while buying petrol for his new Lexus, putting the odd Flavia frothy cappuccino, a Ginsters pasty or a bottle of Lucozade on the tab at the same time. Initially seeming less focussed than the distilled genius of the original I'm Alan Partridge-perhaps because the Travel Tavern location of that series was such an inspired setting-this second instalment of Partridge life is nonetheless a simmering cauldron of repressed and not-so-repressed emotions as the dangerously unstable Alan teeters on the precipice of his own soul: will he regain the B-list celebrity fame for which he yearns so desperately, or fall back into chocolate-fuelled depression? Memorable situations for Alan this year include: trying to present a seminar whilst vomiting from the pain of an impaled foot; being offered a cup of beans on Michael's doorstep (the deluxe version, with a sausage, is "like a savoury 99"); being unnerved by a nymphomaniac's wandering hand coming within 30 mm of his "gland"; having disquieting homoerotic encounters with John, the buff builder from "oop north"; acting out the entire opening sequence of The Spy Who Loved Me; and watching the unsold print run of his autobiography being pulped like "word porridge". Needless to say, Alan has the last laugh. On the DVD: I'm Alan Partridge, Series 2 two-disc set features commentaries on all the episodes with various members of the writing team and cast (Coogan included intermittently). The second disc's main extra is "Anglian Alan", a 30-minute Anglian Lives interview with the celebrated Norfolk Renaissance man. There are also deleted scenes and outtakes, plus more of Alan's botched Comic Relief segments, as well as a stills gallery and cast biographies. [+]

A major British hit, a lorryload of laughs and some sparkling action? We'll have some of that. It's fair to say that Hot Fuzz proves that Simon Pegg and Edgar Wright's brilliant Shaun Of The Dead was no one-off, serving up a superbly crafted British homage to the Hollywood action movie. Deliberately set in the midst of a sleepy, quaint English village of Sandford, Pegg's Nicholas Angel is sent there because, bluntly, he's too good at his job, and he's making his city colleagues look bad. The proverbial fish out of water, Angel soon discovers that not everything in Sandford is quite as it seems, and joins forces with Nick Frost's lumbering Danny Butterman to find out what's what. Hot Fuzz then proceeds to have a rollicking good time in both tipping its hat to the genre films that are clearly its loving inspiration, and coming up with a few tricks of its own. It does comedy better than action, with plenty of genuine laugh-out-loud moments, but it's no slouch either when the tempo needs raising. One of the many strong cards it plays is its terrific cast, which includes former 007 Timothy Dalton, Bill Nighy, Bill Bailey, Paddy Considine, Edward Woodward and Jim Broadbent. Hot Fuzz, ultimately, just falls short of Shaun Of The Dead, but more than does enough to warrant many, many repeat viewings. It's terrific fun, and in the true hit action movie style, all-but-demands some form of sequel. That said, with Pegg and Wright now with two excellent, and suitably different, genres ticked off, it'll be interesting to see what they do next. [+]