Based on the best-selling book of the same name, the film version of The Nanny Diaries is a chick flick, but it lacks the witty tone of the novel, which took time to flesh out the characters. The tone is set early on when the narrator notes, "In Africa they have the saying: 'It takes a village to raise a child. ' But for the tribe of the Upper Eastside of Manhattan, it takes just one person: the nanny. " Recent college graduate Annie Braddock (a brunette Scarlett Johansson) becomes the nanny for Mr. and Mrs. X, a narcissistic and selfish couple who have no clue that what their precocious son Grayer really needs is a mum and a dad who will pay attention to him. At first, Annie can't believe her good fortune. Caring for Grayer a few hours each day in the X's luxurious apartment seems like a dream job. But as her job turns into a 24/7 nightmare, she loses her identity and becomes Nanny. Annie's attempts to befriend her oddly charismatic boss are met with rebuffs by Mrs. [+]

Michael Douglas, Kathleen Turner and Danny DeVito are reunited for a third time to fabulous effect in The War of the Roses. This is a dark, disturbing comedy of marital trauma and revenge, which couldn't be more different from their sunnier outings in Romancing the Stone and The Jewel of the Nile. Douglas and Turner, in career-best performances, are the materialistic, consumer-driven Roses of the title (Oliver and Barbara) whose seemingly perfect marriage has soured beyond repair; their only point of contact is their meticulously maintained dream house, which Douglas bought and Turner decorated to perfection. When Turner gets a taste of financial independence, she asks Douglas for a divorce-all she wants is the house and everything in it (aside from his clothes and shaving kit). He laughs at her and she punches him in the face. Things only get worse from there, as nasty divorce proceedings (with DeVito as Douglas's lawyer) give way to insults, threats, ruined dinner parties and pet abuse. And through it all, the Roses begin destroying their beloved home and its contents, just to spite each other. DeVito, who also directed, takes Michael Leeson's blacker-than-black screenplay and gives it a hyper-stylised spin, complete with skewed camera angles and wonderfully expressionistic cinematography (by Stephen Burum) as Douglas and Turner barricade themselves in their house, both refusing to give an inch. Shocking for a mainstream studio picture, with its unsympathetic protagonists, escalating bitterness and disturbing finale, Roses is a poisonously funny valentine to both marriage and 1980s materialism, tempered only by its framing device as a cautionary tale. -Mark Englehart, Amazon. [+]

Disney does Dickens in this animated version of Oliver Twist, in which a homeless New York City cat falls in with a bunch of mischievous dogs under the leadership of the appealing scoundrel Fagin. The roots of Disney's success with animation in the 1990s begins with this clever, energetic, atmospheric movie, which succeeds in capturing the grim world Dickens conjured. Lyricist Howard Ashman (The Little Mermaid) worked on the songs, the best of which is sung by Billy Joel, who provides the voice of (the Artful) Dodger. -Tom Keogh.

Bell, Book and Candle (1958) is a sparkling, exotic and intelligent comedy based on John Van Druten's original play about the unlikely subject of witchcraft in Manhattan. In his last romantic lead role, James Stewart is publisher Shep Henderson, sucked into the underworld of Greenwich Village by the extraordinarily beautiful Gillian Holroyd (Kim Novak). Their liaison kicks off when Gillian employs her skills to indulge in a bit of fun. By the time Shep gets wise and rejects the artificial premise for a relationship, she has sacrificed her powers to emotional awakening and all is set for a happy ending. Largely thanks to an eccentric supporting cast, which includes Jack Lemmon as Gillian's warlock brother, Hermione Gingold as a fruity nightclub owner and Elsa Lanchester as Gillian's dotty aunt, the film has a delightfully off-centre quality. It's also a bittersweet allegory about being different. "We forfeit everything and then we end up in a little world of separateness from everyone", sighs Gillian. Novak is at the height of her beauty and here, as in her other 1958 triumph Vertigo (also with Stewart), her other-worldly quality fits the character so perfectly that her thespian limitations are well disguised. It's entrancing in every sense. On the DVD: Bell, Book and Candle's vibrant Technicolor explodes from the screen in this DVD release, which is enhanced for 16:9 widescreen televisions. [+]

Mickey Mouse and his pals Minnie, Donald, Daisy, Pluto, Goofy, and Pete invite toddlers and preschoolers to join them in Mickey's clubhouse for some playtime fun and adventure that emphasises teamwork and aids in the development of logic and maths skills. In "Mickey's Treat", Mickey and his pals are dressing up in costumes to attend Big Pete's Halloween party-the only catch is they have to make their way along a candy corn path and through the foggy woods to get to the tower before the moon is full. Only by working together and using the appropriate "mousketools" can the group make it to Pete's party on time. "Goofy the Great" finds magician Goofy desperately in need of some practice before a big magic show. Luckily, he can count on Mickey and his friends for lots of encouragement and some counting and patterning help. In "Doctor Daisy, M. D. " Daisy works toward earning her pretend doctor sticker by seeing an office full of willing patients and curing their ills with a little help from her friends and some handy mousketools. -Tami Horiuchi.

Bette Midler poured her heart and soul into For the Boys, the story of a pair of entertainers who repeatedly took time from their careers to entertain US troops at war, from World War II to Vietnam-and it sank like a stone at the box office. Granted, it's corny and emotionally over the top. It is the tale of an unlikely team of singer and comedian (played by Midler and James Caan), who are brought together for a reunion show in their dotage. As they nervously anticipate seeing each other for the first time in years, they are flooded with memories of their earlier days as a hot show-biz couple whose own troubles always took second place to their patriotic urge to buoy the boys in uniform. Some say this was a veiled film version of the Martha Raye story; Midler gives it her all and Caan isn't bad. But director Mark Rydell lays on the schmaltz so thickly at times that it overpowers the tougher material. -Marshall Fine, Amazon. com.

If a musical sci-fi satire about an alien transvestite named Frank-n-Furter, who is building the perfect man while playing sexual games with his virginal visitors, sounds like an intriguing premise for a movie, then you're in for a treat. Not only is The Rocky Horror Picture Show all this and more, but it stars the surprising cast of Susan Sarandon and Barry Bostwick (as the demure Janet and uptight Brad, who get lost in a storm and find themselves stranded at Frank-n-Furter's mansion), Meat Loaf (as the rebel Eddie), Charles Gray (as our criminologist and narrator) and, of course, the inimitable Tim Curry as our "sweet transvestite from Transsexual, Transylvania". Upon its release in 1975, the film was an astounding flop. But a few devotees persuaded a New York cinema to show it at midnight, and thus was born one of the ultimate cult films of all time. The songs are addictive (just try getting "The Time Warp" or "Toucha Toucha Touch Me" out of your head), the raunchiness amusing and the plot line utterly ridiculous-in other words, this film is simply tremendous good fun. The downfall, however, is that much of the amusement is found in the audience participation that is obviously missing from a video version (viewers in cinemas shout lines at the screen and use props-such as holding up newspapers and shooting water guns during the storm and throwing rice during a wedding scene). Watched alone as a straight movie, Rocky Horror loses a tremendous amount of its charm. Yet, for those who wish to perfect their lip-synching techniques for movie cinema performances or for those who want to gather a crowd around the TV at home for some good, old-fashioned, rowdy fun, this film can't be beat. -Jenny Brown.

He's had some good performances in supporting parts, but Richard Pryor's major film roles, including Brewster's Millions, never managed to captured his comic brilliance the way his concert films did-proving that magic isn't something you can bottle. This 1985 film is no exception, even though it was directed by Walter Hill three years after he turned Eddie Murphy into a film star with 48 Hours. The seventh film reworking of a warhorse stage play, this film stars Pryor and John Candy as a pair of minor-league baseball players whose best days are behind them. Then Pryor is informed that he's just inherited a fortune-300 million dollars. But it comes with a condition: he must spend 30 million dollars in one month, with a number of rules about how much he can spend at one time and how many of any one thing he can buy. Both Pryor and Candy were at the top of their comedy games at this point, but were utterly failed both by ham-handed direction and a script that left them higher and drier than seems humanly possible, given the comic talents involved. -Marshall Fine, Amazon. com.

The pageant of boorishness and slobbery known as Men Behaving Badly launched itself upon an unsuspecting audience in 1992. Over the course of six episodes, Gary (Martin Clunes), the disgruntled manager of a security alarm company, struggles to break up with his long-suffering girlfriend Dorothy (Caroline Quentin) while competing with his aimless flatmate Dermot (Harry Enfield) for the attentions of their fetching new upstairs neighbour Deborah (Leslie Ash). The plots are built on contrivances like a chess match over opera tickets or an attempt at seduction via a synthesized flamenco guitar, but the humor always springs from the petty, careless, and generally inane behavior of Dermot and Gary. Gary persuades Dorothy to accept an open relationship, then becomes consumed with jealousy when she sees another man; Dermot tries to persuade Deborah to relieve their basic needs while her boyfriend is in Singapore. It could be tiresome squalor-and according to reviews, the American remake of the show (featuring Rob Schneider and Ron Eldard) was just that-but Clunes and Enfield invest this pair of clods with enough humanity to make their mishaps both excruciating and funny. Enfield left after this first sextet of episodes; Clunes and Enfield's replacement Neil Morrissey took the show to five more series, but Enfield's charming dimness makes this first series worth a look. -Bret Fetzer.

Before Kevin Smith became a Hollywood darling with Chasing Amy, a film he wrote and directed, he made this $27,000 comedy about real-life experiences working for chump change at a New Jersey convenience store. A rude, foul-mouthed collection of anecdotes about the responsibilities that go with being on the wrong side of the till, the film is also a relationship story that takes some hilarious turns once the lovers start revealing their sexual histories to one another. In the best tradition of first-time, ultra-low budget independent films, Smith uses Clerks as an audition piece, demonstrating that he can not only handle two-character comedy but also has an eye for action-as proven in a smoothly handled rooftop hockey scene. Smith himself appears as a silent figure who hangs out on the fringes of the store's property. -Tom Keogh.

Pretty Brittany Murphy and prettier Ashton Kutcher make a surprisingly enjoyable comic team in Just Married, a romantic comedy about a horrible honeymoon. After a whirlwind romance, radio traffic announcer Kutcher and rich girl Murphy get married over the objections of her upper-crust family. Their love can overcome snobbery-but as the cuddly pair start to drive each other nuts over mishaps travelling through Europe, it starts to look like their love can't overcome intimacy. Just Married has a sprightly script that keeps one foot on the ground (unlike some recent romantic comedies that seem to have no connection to reality) and one eye on the small ways in which lovers can get on each other's nerves. Kutcher and Murphy have a sweet yet volatile chemistry that keeps the antics lively. -Bret Fetzer.

The ultimate small-screen representation of Loaded-era lad culture-albeit a culture constantly being undermined by its usually sharper female counterpart-there seems little argument that Men Behaving Badly was one of 1990s' definitive sitcoms. Certainly the booze-oriented, birds-obsessed antics of Martin Clunes' Gary and Neil Morrissey's Tony have become every bit as connected to Britain's collective funny bone as Basil Fawlty's inept hostelry or Ernie Wise's short, hairy legs. Yet, the series could easily have been cancelled when ITV viewers failed to respond to the original version, which featured Clunes sharing his flat with someone named Dermot, played by Harry Enfield. Indeed, it was only when the third series moved to the BBC and was then broadcast in a post-watershed slot-allowing writer Simon Nye greater freedom to explore his characters' saucier ruminations-that the show began to gain a significant audience. By then, of course, Morrissey had become firmly ensconced on the collective pizza-stained sofa, while more screen time was allocated to the boys' respective foils, Caroline Quentin and Leslie Ash. Often glibly dismissed as a lame-brained succession of gags about sex and flatulence, the later series not only featured great performances and sharp-as-nails writing but also sported a contemporary attitude that dared to go where angels, and certainly most other sitcoms, feared to tread. Or, as Gary was once moved to comment about soft-porn lesbian epic Love in a Women's Prison: "It's a serious study of repressed sexuality in a pressure-cooker environment. " Series 4 includes: "Babies" in which Dorothy gets broody. ("I suppose the big question is do I really want children with a man who still has a Fungus the Bogeyman pillowcase. "; "Infidelity" in which Gary thinks Dorothy may be having an affair; "Pornography" in which Deborah invites Dorothy and her new boyfriend to a dinner party, much to Gary's chagrin; "3 Girlfriends" in which Dorothy has some unpleasant news for Gary; "Drunk" in which Gary's fresh start with Dorothy is put at risk by his local's extensive range of guest lagers; "In Bed with Dorothy" in which Dorothy's recuperative powers are tested following an appendectomy when Gary "shoulders the burden of caring for her". [+]