Overlooked in the end at the Academy Awards, and not ratcheting up the box office you'd perhaps expect of a Tom Hanks movie, Charlie Wilson's War is nonetheless a challenging, entertaining and underappreciated film, that deserves to find a bigger audience on DVD. Starring Hanks in the title role, the strength of Charlie Wilson's War is in some talented people doing what they do best. Hanks eases into his part, as the Texas congressman who uses his extensive contacts book and unorthodox nature (which is putting it mildly) to initiate and wage a secret war. Alongside him is Julia Roberts on fine form in a small part, and the excellent Phillip Seymour Hoffman, who is at the heart of the film's best, and funniest, moments. Gluing Charlie Wilson's War together is an assured turn behind the camera from veteran director Mike Nichols. Nichols, still best known for The Graduate, is confident enough to let the comedy in a deathly serious story play out, while not shirking the drama either. It's a tender balancing act, that only flusters a little near the end. It's not a perfect film, and the tone may be a little uneasy for some. But Charlie Wilson's War is, nonetheless, a very strong piece of American cinema, that has questions to ask, and manages to entertain at the same time. Well worth discovering. [+]

"You measure yourself by the people who measure themselves by you," says the quietly wise Carter Chambers, played with gravitas and grace by a Morgan Freeman. In Rob Reiner's moving, often hilarious film The Bucket List, all sorts of people measure themselves against the two heroes, Chambers and his hospital suitemate, Edward Cole (Jack Nicholson). But as Cole finds, having spent his entire life building a Fortune 500 company, none of that much matters when cancer, the great equalizer, pays a visit. The film traces the adventures of the two unlikely friends, who meet in a hospital cancer ward, each given six months to live. The "bucket list" of the title refers to a lifelong list of goals that a teacher of Chambers once advised him to compile-and achieve-"before you kick the bucket. " Soon the two are off on what may be the last grand adventure of their life, vowing to tick off as many goals (skydiving, race-car driving, seeing the wonders of the world) as they can in the time they have left. What starts as a medical melodrama becomes a road trip, yet the men's mortality realities are never far from thought. The two leads give impressive performances, and remind the viewer of just how few American films focus on the lives and loves of senior citizens. Nicholson even manages to lose his persona in his character, much as he did in About Schmidt. There's a lovely John Mayer tune, "Say (What You Need to Say)," that's perfectly matched to the film's clear-eyed view of life: What does one person leave behind as his true legacy? -A. [+]

Somewhere between the sharp satire of Election and the rich human comedy of You Can Count On Me lies Juno, a sardonic but ultimately compassionate story of a pregnant teenage girl who wants to give her baby up for adoption. Social misfit Juno (Ellen Page, Hard Candy, X-Men: The Last Stand) protects herself with a caustic wit, but when she gets pregnant by her friend Paulie (Michael Cera, Superbad), Juno finds herself unwilling to terminate the pregnancy. When she chooses a couple who place a classified ad looking to adopt, Juno gets drawn further into their lives than she anticipated. But Juno is much more than its plot; the stylised dialogue (by screenwriter Diablo Cody) seems forced at first, but soon creates a richly textured world, greatly aided by superb performances by Page, Cera, Jennifer Garner and Jason Bateman as the prospective parents, and J. K. Simmons (Spider-Man) and Allison Janney as Juno's father and stepmother. Director Jason Reitman (Thank You For Smoking) deftly keeps the movie from slipping into easy, shallow sarcasm or foundering in sentimentality. The result is smarter and funnier than you might expect from the subject matter, and warmer and more touching than you might expect from the cocky attitude. Page's performance is deceptively simple; she never asks the audience to love her, yet she effortlessly carries a movie in which she's in almost every scene. That's star power. [+]

Loosely based on the books by Cecily Von Ziegesar, Gossip Girl focuses on a privileged bunch of New York teenagers and their comparably glamorous social lives. And when Serena van der Woodsen suddenly returns from boarding school and heads back to New York with no explanation, it takes no time at all for the tongues to start wagging. But then that's where the Gossip Girl steps in. Because gluing together all the characters in this entertaining show is a website, one that reports on what everyone in their social circle is up to. Nobody knows who is behind the site (although the voiceover does come from Veronica Mars' Kristen Bell) but everyone pays attention to what it has to say. And it is the website mechanic that gives Gossip Girl that something a little different from the majority of rival teen dramas, with the scripts playing with effectively having an anonymous character particularly well. The cast, too, have plenty of punch, with the likes of Blake Lively, Leighton Meester and Taylor Momsen just some of the highlights among a good ensemble. Gossip Girl is, ultimately, a fun, enjoyable drama that knows its target audience and hits it very well. Slickly packaged and easy on the eye, it's a fine piece of television drama, and has enough here to suggest a long and successful run on our screens. -Jon Foster.

As light and frothy as the Vivienne Westwood wedding gown that's an unofficial fifth star, the film version of Sex and the City is both captivatingly stylish and sweetly sentimental. Viewers who loved hanging with Carrie Bradshaw and her three pals during the series' TV run will feel as though no time has passed. Except that it has: Carrie and Big are poised to make a Big Commitment; Miranda and Steve are facing the breakup of their wonderful family; Charlotte and Harry have added to their brood; and Samantha (are we sitting down?) has been devoted to hunky Smith for five full years. Still, in all that time, the women's style, conviviality, and appetite for bons mots have only grown. When practical attorney Miranda learns that Carrie is considering moving in with Big (in possibly the coolest apartment in Manhattan), she can't help but frown in that but-you-might-lose-everything way. Carrie's retort: "For once, can't you feel what I want you to feel-jealous?!" The cast is spot-on, as always. Sarah Jessica Parker is effortless as the angst-ridden yet practical, stylish yet vulnerable Carrie. Kim Cattrall is deliciously decadent as Samantha, but she's wiser now and knows herself and her needs for a real relationship. Kristin Davis, as Charlotte, has quietly become the most gorgeous among the beauties, her sleek presence both winsome and sophisticated. And Cynthia Nixon (Miranda) shows nuance as a woman torn between betrayal and grudging hope. [+]

Lest there be any doubts about the ongoing relevance of the novels of Jane Austen, the charming Jane Austen Book Club will lay them to rest-with wit, sharp insight, and a wicked chuckle or three. Directed by the talented Robin Swicord, who adapted the book by Karen Joy Fowler (and also wrote the crackling screenplay for the 1994 version of Little Women), the film is a modern-day comedy of manners, with deeply felt emotions, repressed feelings, unquenched desire and embarrassing relatives-all staples of Austen works. The film centres on a group of six friends in Sacramento, Calif. , who gather to distract themselves from loss (a newly dumped Sylvia, played with grace and quiet pain by Amy Brenneman), repressed disappointment (the prissy teacher Prudie, played by Emily Blunt), or a life of unrealized dreams (Jocelyn, played by Maria Bello, whose acting skills have gained great nuance, both in comedy and drama). All are devoted Austen fans, except the lone man, Grigg (Hugh Dancy, adorable and available, ladies), who has an ulterior motive for joining the chick-lit gang. As the months unfold, we learn about the relationships of all the members, and watch as elements of Austen's novels and characters pop up with enchanting regularity. There's plenty of pride (Prudie), prejudice (Jocelyn), sense (Sylvia), and sensibility (Sylvia's daughter Allegra, headstrong and reckless in life and love, played by Maggie Grace)-and a fair amount of persuasion (Grigg and Sylvia's caddish ex, Daniel, a smooth Jimmy Smits). As the minuet of relationships and alliances unfolds over the months, the emotions are real and the leavening humour spot-on. About the only thing that doesn't ring true is seeing all these Sacramento women bundled up in shawls, blankets, thick sweaters and extra layers-even in July(!). Still, the film will engage even reluctant Austen readers (if there is such a thing). [+]

Based on the best-selling novel from Cecelia Ahern, P. S. I Love You is far more than the standard chick flick that it may first appear to be. Relocating the novel from Ireland to America, multiple Oscar-winner Hilary Swank stars as the young woman who has recently lost her husband. And yet amidst her grief, she discovers a series of letters that he's written to help. These letters give her certain things she has to do, to help her move on with her life. It's not a completely clean adaptation of the book, and yet P. S. I Love You has more than enough in its tank to qualify as a good, quality bona fide weepy. Swank in particular is a terrific actress, and delivers another worthy performance here. [+]

The considerable pleasures of In Bruges begin with its title, which suggests a glumly self-important art film but actually fits a rattling-good tale of two Irish gangsters "keepin' a low profile" after a murder gone messily wrong. Bruges, the best-preserved medieval town in Belgium, is where the bearlike veteran Ken (Brendan Gleeson) and newbie triggerman Ray (Colin Farrell) have been ordered by their London boss to hole up for two weeks. As the sly narrative unfolds like a paper flower in water, "in Bruges" also becomes a state of mind, a suspended moment amid centuries-old towers and bridges and canals when even thuggish lives might experience a change in direction. And throughout, the viewer has ample opportunity to consider whose pronunciation of "Bruges" is more endearing, Gleeson's or Farrell's. The movie marks the feature writing-directing debut of playwright Martin McDonagh, whose droll meditation on sudden mortality, Six Shooter, copped the 2005 Oscar for best live-action short. Although McDonagh clearly relishes the musicality of his boyos' brogue and has written them plenty of entertaining dialogue, In Bruges is no stageplay disguised as a film. The script is deceptively casual, allowing for digressions on the newly united and briskly thriving Europe, and annexing passers-by as characters who have a way of circling back into the story with unanticipatable consequences. That includes a film crew-shooting a movie featuring, to Ray's fascination, "a midget" (Jordan Prentice)-and a fetching blond production assistant (Clémence Poésy) whose job description keeps evolving. There's one other key figure: Harry, the Cockney gang boss whose omnipotence remains unquestioned as long as he remains offscreen, back in England, as if floating in an early Harold Pinter play. Harry has reasons inextricably tender and perverse for selecting Bruges as his hirelings' destination, and eventually he emerges from the aether to express them-first as a garrulous telephone voice and then in the volatile form of Ralph Fiennes. [+]

A feel-good movie that highlights the beauty of France as much as it does its stars, A Good Year provides a languid, gorgeous viewing experience. Director Ridley Scott and Russell Crowe-who first worked together on the Academy Award-winning Gladiator-are reunited in this romantic film, which is based on Peter Mayle's book A Year in Provence. Crowe plays Max, a workaholic London bonds trader who doesn't know the meaning of vacation. When his uncle dies, leaving him a picturesque estate in the south of France, Max views it as an opportunity to cash in the vinery and pocket the profits. The film is reminiscent of Diane Lane's Under the Tuscan Sun in the way the scenery plays as much of a role in the film as its characters. The lush village and streaming sunlight portray Provence as an idyllic, magical place. Even Max falls under its spell. While not a particularly likeable character, especially in the early part of the film, Max also isn't a bad guy. When he gets the chance to live life at a less manic pace than which he is used to, he finds that a good year isn't dependant on a financial windfall. Though Scott tries to drum up some suspense in the film (Is the beautiful visitor really Max's illegitimate cousin? Will Max fall in love with the feisty local woman he trades quips with?) nothing that happens comes as much of a surprise. [+]

Family tension again provides dramatic comedy in Wes Anderson's new film, The Darjeeling Limited, about three American brothers travelling by train to find their reclusive mother in rural India. Like The Royal Tenenbaums, this film succeeds because of its smart, funny script in addition to the visual beauty of India and its luxurious locomotive transportation. In Darjeeling, the oldest brother, Francis (Owen Wilson), blackmails his two younger siblings, Peter (Adrien Brody), and Jack (Jason Schwartzman), into travelling to a monastery where their mother, Patricia (Anjelica Huston), has been in hiding as a nun. Supposedly embarking on a spiritual quest, the three men reminisce about the recent death of their father, and the family's irreconcilable problems previous to their reunification. Though they do find Patricia, Francis, Peter, and Jack grow immensely from another brush with death, this time an Indian boy they try to rescue, giving the film an added conceptual depth that Anderson's previous films have been accused of lacking. Co-written by Roman Coppola, The Darjeeling Limited is a finely-tuned critique of American materialism, emotional vacuity, and lack of spiritualism, presented in ironic twists and gorgeous cinematography and lighting recalling Altman's McCabe & Mrs. Miller. A lovely, poignant sequence occurs while the three brothers attend a traditional Indian funeral, and flash back to their father's one year prior. Moreover, the film's soundtrack culled from Satyajit Ray's films and vintage Kinks gives the film a timeless feel, removing it from the predictable indie rock scoring of independent releases. By far Anderson's best film thus far, The Darjeeling Limited offers a much-needed dose of cultural self-reflection, pillared against India's ever-evolving yet ancient religious backbone. [+]

As light and frothy as the Vivienne Westwood wedding gown that's an unofficial fifth star, the film version of Sex and the City is both captivatingly stylish and sweetly sentimental. Viewers who loved hanging with Carrie Bradshaw and her three pals during the series' TV run will feel as though no time has passed. Except that it has: Carrie and Big are poised to make a Big Commitment; Miranda and Steve are facing the breakup of their wonderful family; Charlotte and Harry have added to their brood; and Samantha (are we sitting down?) has been devoted to hunky Smith for five full years. Still, in all that time, the women's style, conviviality, and appetite for bons mots have only grown. When practical attorney Miranda learns that Carrie is considering moving in with Big (in possibly the coolest apartment in Manhattan), she can't help but frown in that but-you-might-lose-everything way. Carrie's retort: "For once, can't you feel what I want you to feel-jealous?!" The cast is spot-on, as always. Sarah Jessica Parker is effortless as the angst-ridden yet practical, stylish yet vulnerable Carrie. Kim Cattrall is deliciously decadent as Samantha, but she's wiser now and knows herself and her needs for a real relationship. Kristin Davis, as Charlotte, has quietly become the most gorgeous among the beauties, her sleek presence both winsome and sophisticated. And Cynthia Nixon (Miranda) shows nuance as a woman torn between betrayal and grudging hope. [+]