Frasier's fifth season is marked by two central themes. First is Roz's (Peri Gilpin) unexpected pregnancy, which naturally opens the door for countless promiscuity jokes for the radio show's beleaguered producer. The second is the continuing drama of Niles (David Hyde Pierce) and his frosty wife, Maris, which seemed to finally come to a head. Not that even a good marriage has ever kept Niles from pining for Daphne (Jane Leeves), of course. Frasier's (Kelsey Grammer) show is sailing along, and for the occasion of his 1000th show, is honoured by the mayor for "Frasier Crane Day," which allows the cast to do some rare location shooting in Seattle. But he has some problems with KACL management, and the prospect of tough contract negotiations tempts him to return to the Dark Side, in the form of agent Bebe (Harriet Sansom Harris). His personal life continues to sputter, even when he meets a perfect woman (Sela Ward as a fashion model studying zoology, Lindsay Frost as a high-powered defense attorney). The annual guest appearance by ex-wife Lilith (Bebe Neuwirth) comes with a bizarre twist, and his father (John Mahoney) comes to a critical point with his girlfriend (Marsha Mason). Frasier won its fifth consecutive Emmy for Outstanding Comedy Series, Grammer and Pierce won their third and second statuettes, respectively, and Patti Lupone was nominated for her guest appearance as Frasier's vengeful Greek aunt. -David Horiuchi.

Like a good claret laid down for a couple of decades, Victor Victoria (1982) just improves with age. Based on a 1930s German screenplay, Blake Edwards' cross-dressing musical tackles sexuality and gender with a sweet generosity of spirit and endearing warmth. To Edwards' credit and that of his wife Julie Andrews in the title role it is far more than a star vehicle, with James Garner, Lesley Ann Warren and, particularly, Robert Preston (as worldly gay Toddy) contributing quick-fire performances that brim with brilliant timing. Andrews, too, is wonderful in a deceptively complex part. It shouldn't have worked at all. Victor Victoria was made at a time when the Hollywood musical's currency was at its lowest and Andrews might have been deemed a rather old-fashioned sort of star. But by keeping Henry Mancini's songs in context as stage numbers, the traditional values of the musical are subverted. And the whole thing is bathed in a soft, intimate light; this is a film of considerable artistry on every level. On the DVD: Victor Victoriais presented in widescreen with a sharp Dolby Digital soundtrack; the picture quality is splendid. Extras include lists of cast, crew and awards as well as the original theatrical trailer. [+]

Barbie as Rapunzel is an 80-minute video that will thrill children aged three to eight, following on from the success of Barbie in the Nutcracker. Barbie may have started life as a doll in the 1950s, but these days she's also making her name as a computer-animated film star. In a modern twist on the classic fairy tale, Barbie stars as Rapunzel-a courageous and imaginative princess who is locked away in a tower by the evil witch Gothel. With help from her friends (Penelope the cute purple dragon and Hobie the rabbit) and through the power of her own creative energies, she paints her way out of the tower to find freedom, truth and love. The video is visually impressive with dark and light colours used effectively to emphasise good and evil, allowing Barbie to be surrounded by her favourite soft pinks and purples. The well-known actress Angelica Huston is memorable as the vocal talent behind the unbalanced and scary Gothel. Excellent sound effects greatly enhance the film and Dvorak's New World Symphony played by the London Symphony Orchestra makes a pleasant change from films' current dependence on pop hits. Hugo the mighty dragon, Otto the nasty ferret and the sword fight between the feuding kings will hold the attention of those brothers of Barbie fans who are less than enthusiastic about watching this film, but essentially this is a little girl's film and the outrageously pink castle, the magical fashion show before the masked ball and the fairytale wedding will make it a firm favourite for its intended audience. -Tracey Hogan.

The "sophmore jinx" hit hard for this second film by Kevin Smith, whose debut Clerks transcended the limits of its setting and budget to become memorably funny and a cult classic. (Smith followed Mallrats with the wonderful Chasing Amy, only to be cursed again with the appalling Dogma. Clearly he's settling into the same one-off rhythm that afflicts the Star Trek movies. ) A ramshackle comedy set in a mall, Mallrats follows several storylines involving lovers, enemies, friends, goofballs, and Smith's own character "Silent Bob", who also appeared in all the other Smith films. A heavy self-consciousness weighs on everything, as if Smith forgot how to make obscenity funny instead of tedious. Still, it's nice to see some of the director's film family on screen, among them Ben Affleck before he was famous, Jason Lee and Joey Lauren Adams. -Sally Chatsworth.

The Very Best of Hancock isn't just a miscellaneous compilation of his television work, rather it is five of the six episodes from Hancock's last season with the BBC in 1961. Writers Ray Galton and Alan Simpson followed Hancock to television after making him a star on radio, and it is to them as much as to Hancock's lugubrious persona that these few shows owe their classic status. In a conscious effort to throw the spotlight more firmly on himself, Hancock had parted company with his radio cohorts in the transition to TV, and here for the first time he also dispensed with stalwart comedy partner Sid James. Thanks to Galton and Simpson, however, the gamble paid off handsomely and these shows remain some of the best sitcoms ever created for British television. No longer a resident of Railway Cuttings, East Cheam, here we find Hancock in Earl's Court in the first episode, "The Bedsitter". Whether trying vainly to live the life of a carefree bachelor, playing an old country character in a thinly disguised version of "The Archers" ("The Bowmans"), wrestling with the complexities of valve radio ("The Radio Ham"), annoying everyone in an awkward situation ("The Lift") or giving that famous pint of blood ("The Blood Donor"), Galton and Simpson provide Hancock with every opportunity to exercise his wonderful pomposity and pretentiousness with scripts full of comic invention and eminently quotable lines. Hugh Lloyd and June Whitfield are among the supporting cast. On the DVD: The disc includes a good recent interview with Galton and Simpson, who talk about their sometimes difficult relationship with the star. After Hancock used cue cards while recording "The Blood Donor", they reveal, he decided never to bother learning any lines again, even though this had a detrimental effect on his ability to use comic facial expressions ever afterwards. The picture and sound quality are what might be expected from TV of this vintage. [+]