The original 1947 version of this Valentine Davies story follows the misadventures of Kris Kringle (Edmund Gwenn) as he gets a job playing Santa Claus at Macy's department store in New York City. Natalie Wood is the little girl who tells him she doesn't believe in Santa, and Maureen O'Hara and John Payne are the couple who help Kris through a trial in which he must prove he's the jolly fellow from the North Pole. A sweet movie and perennial Christmas favourite, Miracle on 34th Street is one of those films that gets under your skin and must be revisited every so often. -Tom Keogh The original 1947 version of the Valentine Davies story Miracle on 34th Street follows the misadventures of Kris Kringle (Edmund Gwenn) as he gets a job playing Santa Claus at Macy's department store in New York City. Natalie Wood is the little girl who tells him she doesn't believe in Santa, and Maureen O'Hara and John Payne are the couple who help Kris through a trial in which he must prove he's the jolly fellow from the North Pole. A perennial Christmas favorite, this is one of those movies that gets under your skin and must be revisited every so often. -Tom Keogh.

Beginning during the dawn of Factory Records-as Tony Wilson throws himself off a cliff for Granada TV-24 Hour Party People attempts to capture the essence of the ill-fated label which spawned Joy Division/New Order, The Happy Mondays and the venue that started modern Club Culture, the Hacienda in Manchester. Director Michael Winterbottom takes a very different approach to most music biographies, by making the film self-aware that it is a film and ironically looking at its own role within the history of the "Mad-chester" scene. Inspired by Wilson's autobiographical musings, the film is narrated in character by Steve Coogan as Wilson. He offers sporadic moments from his life-his "career" as a presenter at Granada and his several marriages-which in turn influence the destructive nature of the label he founded. Coogan's Wilson gives monologues to camera which remind the audience that what they are watching is only his perspective. Yet with Coogan in the title role it's impossible to ignore the similarities between Wilson and Alan Partridge; and although this adds instant humour to the film it also instantly pins Wilson with the comic "Partridge" tag of fated fool. The cinematography, on the other hand, tries faithfully to embody the feeling of the times, from grainy celluloid for the punk-like Joy Division gigs to bright, clean-cut images for the birth of the Hacienda. The film also benefits from an amazing soundtrack and strong supporting characters. It all adds up to a picture that's purely British in character: imbued with irony, down-and-out inspiration, and a touch of the surreal. On the DVD: 24 Hour Party People comes as a two-disc set, but there really is little need. [+]

It's set during the Korean War, in a mobile army surgical hospital. But no one seeing MASH in 1970 confused the film for anything but a caustic comment on the Vietnam War; this is one of the counterculture movies that exploded into the mainstream at the end of the 1960s. Director Robert Altman had laboured for years in television and sporadic feature work when this smash-hit comedy made his name (and allowed him to create an astonishing string of offbeat pictures, culminating in the masterpiece Nashville). Altman's style of cruel humour, overlapping dialogue, and densely textured visuals brought the material to life in an all-new kind of war movie (or, more precisely, antiwar movie). Audiences had never seen anything like it: vaudeville routines played against spurting blood, fuelled with open ridicule of authority. The cast is led by Elliott Gould and Donald Sutherland, as the outrageous surgeons Hawkeye Pierce and Trapper John McIntyre, with Robert Duvall as the uptight Major Burns and Sally Kellerman in an Oscar-nominated role as nurse "Hot Lips" Houlihan. The film's huge success spawned the long-running TV series, a considerably softer take on the material; of the film's cast, only Gary Burghoff repeated his role on the small screen, as the slightly clairvoyant Radar O'Reilly. -Robert Horton MASH-a 1970 comedy-drama set among surgeons drafted into the Korean war-was a breakthrough not just for director Robert Altman but for movie-making in general. Although set in the 50s, there are few who did not realise that the film's anti-war messages were directed at the US involvement in Vietnam. Indeed, the Pentagon banned US servicemen from seeing the film. [+]

John Milius charts a decade of social change as three surfing buddies use the sport as a personal touchstone for their lives whilst growing up in the turbulent 1960s. Irresponsible hot-dogging legend Matt (Jan-Michael Vincent),serious and stable Jack (William Katt) and mad misfit Leroy, aka "Masochist" (Gary Busey), are teenage surf bums in 1963, living at the beach in a perpetual summer under the sway of surfboard-maker Bear (Sam Melville), guru, mentor, and keeper of the lore. But times are changing and boys grow up in the shadow of Vietnam while adulthood pushes them into hard decisions. John Milius mixes the nostalgia of American Graffiti with the reverence of a John Ford cavalry drama. Surfing becomes a kind of spiritual quest spoken of in awed mythic tones and photographed with the epic grandeur of a rite of passage. Milius's heavy-handed direction andr everent attitude slows the films and will turn off some viewers but Milius fans will appreciate his macho stylings and philosophical musings, and surfing fans will love the spectacular surfing footage, including the dazzling stylings of world champion Gerry Lopez (who Milius later cast in Conan the Barbarian). Lee Purcell costars as Matt's supportive wife, with Patti D'Arbanville, Barbara Hale and Robert Englund in supporting roles. Look for Ford stock player Hank Worden in a small role and Milius himself in a cameo role selling marijuana in Tijuana. -Sean Axmaker John Milius charts a decade of social change in Big Wednesday as three surfing buddies use surfing as a personal touchstone for their lives while growing up in the turbulent 1960s. Irresponsible hot-dogging legend Matt (Jan-Michael Vincent), serious and stable Jack (William Katt), and mad misfit Leroy, aka "Masochist" (Gary Busey), are teenage surf bums in 1963, living at the beach in a perpetual summer under the sway of surfboard-maker Bear (Sam Melville), guru, mentor, and keeper of the lore. [+]

Many lesbian movies are long on charm and short on production values; Better Than Chocolate has a solid dose of both and steamy sex scenes to boot. Our heroine Maggie (Karyn Dwyer), a clerk at a lesbian bookshop, meets footloose butch Kim (Christina Cox) and, after Kim's van is towed away, they move in together. Unfortunately for their romantic bliss, Maggie's mother, Lila (Wendy Crewson), and teenage brother move in that very evening thanks to Lila's impending divorce. But what really complicates matters is that Maggie can't bring herself to come out to her mother. Even when she tries, Lila steamrollers through the conversation, as if she knows what's coming and doesn't want to hear it. Interwoven with this is the struggle of Judy (Peter Outerbridge), a male-to-female transsexual who's in love with the bookshop's owner, Frances (Ann-Marie MacDonald), who's freaking out because customs officers are holding a list of books at the border that they claim are obscene. The overlapping plots are deftly juggled, the personal and political are compellingly interwoven, and, most satisfying of all, the characters have problems that aren't going to be easily resolved. A handful of candy-coloured lip-synching musical numbers give the movie some flash and the sex scenes give it some heat, but it's the elements of sorrow and ambiguity that really make the joy in Better Than Chocolate something to savour. -Bret Fetzer, Amazon. com.

America Ferrera stars as go-getter Betty Suarez, a true beauty in the skin-deep world of high fashion. Two very different cultures collide in this sexy and stylish series about believing in yourself regardless of the odds. Experience every episode of the award-winning Series One in this sensational collection. Hotter than the latest fashions from Milan, Ugly Betty is back for an even bigger, bolder and “Bettyer” Series Two. Make a date with the intriguing and alluring characters of Ugly Betty, and hit the runway in style with every episode of Series Two. It’s a scintillating eleven disc set full of television’s most fashionable comedy.

In Her Shoes just gets better and better as it goes along. As adapted by Erin Brockovich screenwriter Susannah Grant, this is one of those rare movies that actually improves on its source material (Jennifer Weiner's "chick lit" bestseller), with thoughtful direction by Curtis Hanson, the L. A. Confidential Oscar-winner who approaches any chosen genre with Hawksian versatility. At first it seems like Weiner's novel might yield a standard melodrama of sibling rivalry, but the polar opposition of smart, plain-looking Philadelphia lawyer Rose (the always-excellent Toni Collette) and her sexy, illiterate, irresponsible sister Maggie (Cameron Diaz) is just the starting point. In Her Shoes becomes a moving, richly developed character study that deals with painful loss, long-term guilt, negative self-image, and the discovery of a heretofore unknown grandmother named Ella (played with delicate nuance by Shirley MacLaine), whose re-entry into the sisters' lives sets the stage for the well-earned emotions of a satisfying reconciliation. As Maggie takes stock of her dismal life while staying with Ella at a Florida "retirement home for active seniors," Hanson never condescends to these likable characters, and never goes for the easy laughs in a setting that could have devolved into Cocoon-like comedy. The movie's all the more endearing for treating its male characters (played by Mark Feuerstein, Ken Howard, and Richard Burgi) with equal depth and sympathy, further enhancing a classy tearjerker that viewers of both genders can thoroughly enjoy. - Jeff Shannon.

Transplanted from England to the not-so-mean streets of Chicago, the screen adaptation of Nick Hornby's cult-classic novel High Fidelity emerges unscathed from its Americanisation, idiosyncrasies intact, thanks to John Cusack's inimitable charm and a nimble, nifty screenplay (co-written by Cusack). Early-thirtysomething Rob Gordon (Cusack) is a slacker who owns a vintage record shop, a massive collection of LPs, and innumerable top-five lists in his head. At the opening of the film, Rob recounts directly to the audience his all-time top-five breakups- which doesn't include his recent falling out with his girlfriend Laura (Iben Hjejle), who has just moved out of their apartment. Thunderstruck and obsessed with Laura's desertion (but loath to admit it), Rob begins a quest to confront the women who instigated the aforementioned top-five breakups to find out just what he did wrong. Low on plot and high on self-discovery, High Fidelity takes a good 30 minutes or so to find its groove (not unlike Cusack's Grosse Pointe Blank), but once it does, it settles into it comfortably and builds a surprisingly touching momentum. Rob is basically a grown-up version of Cusack's character in Say Anything (who was told "Don't be a guy-be a man!"), and if you like Cusack's brand of smart-alecky romanticism, you'll automatically be won over (if you can handle Cusack's almost non-stop talking to the camera). Still, it's hard not to be moved by Rob's plight. At the beginning of the film he and his coworkers at the record store (played hilariously by Jack Black and Todd Louiso) seem like overgrown boys in their secret clubhouse; by the end, they've grown up considerably, with a clear-eyed view of life. Ably directed by Stephen Frears (Dangerous Liaisons), High Fidelity features a notable supporting cast of the women in Rob's life, including the striking, Danish-born Hjejle, Lisa Bonet as a sultry singer/songwriter, and the triumphant triumvirate of Lili Taylor, Joelle Carter, and Catherine Zeta Jones as Rob's ex-girlfriends. With brief cameos by Tim Robbins as Laura's new, New Age boyfriend and Bruce Springsteen as himself. [+]