Much lighter in tone than creator, producer and writer David E Kelley's other forays into legal drama LA Law, and The Practice, the slick thirtysomething series Ally McBeal has never been out-and-out comedy but it spikes its exploration of emotional territory with sharp funny lines. Ally (Calista Flockhart) is a kookie cutie, a ditzy, skinny, single lawyer and we are privy to scenes from her overactive imagination (courtesy of CGI), surrounded by larger-than-life peripheral characters-almost grotesques-like outspoken boss Richard Fish (Greg Germann), nervy courtroom wizz John "The Biscuit" Cage (Peter MacNicol) and nosy secretary Elaine Vassal (Jane Krakowski). In later series these characters (including popular newcomers Lucy Lui and Portia de Rossi as frosty law babes Ling and Nelle) would edge towards one-dimensional caricatures as the same ground was retrodden relentlessly, but in this first series there is something compelling about the intrusive dynamics of this group of oddballs. The point is you don't have to like them to find them entertaining. Ally herself can be extremely irritating in a love-to-hate-her kind of a way. She is a curious dichotomy, a 1990s woman with a go-getting career and a penchant for her own way and yet with the romantic ideals of someone from another generation. Basically still hung up on ex-boyfriend Billy (Gil Bellows) who works for same Boston practice, alongside wife Georgia (Courtney Thorne-Smith), Ally is on the look out for her Prince Charming. The first series and its lead both garnered Golden Globes, a lot of gossip and a healthy audience for the Fox television network in America. Channel 4 snapped it up for British audiences who were intrigued, not least by the unisex toilets and sophisticated afterwork bar soirées where chanteuse Vonda Shepherd was always to be found crooning away in the corner. All in all, Ally McBeal leaves you with the conundrum of wanting more but not being able to say why. [+]

Stanley Kubrick's striking visual interpretation of Anthony Burgess's famous novel is a landmark. Malcolm McDowell delivers a clever, tongue-in-cheek performance as Alex, the leader of a quartet of droogs, a vicious group of young hoodlums who spend their nights stealing cars, fighting rival gangs, breaking into people's homes, and raping women. While other directors would simply exploit the violent elements of such a film without subtext, Kubrick maintains Burgess's dark, satirical social commentary. We watch Alex transform from a free-roaming miscreant into a convict used in a government experiment that attempts to reform criminals through an unorthodox new medical treatment. The catch, of course, is that this therapy may be nothing better than a quick cure-all for a society plagued by rampant crime. A Clockwork Orange works on many levels-visual, social, political, and sexual-and is one of the few films that holds up under repeated viewings. Kubrick not only presents colourfully arresting images, he also stylises the film by utilising classical music (and Wendy Carlos's electronic classical score) to underscore the violent scenes, which even today are disturbing in their display of sheer nihilism. Ironically, many fans of the film have missed that point, sadly being entertained by its brutality rather than being repulsed by it. -Bryan Reesman, Amazon. com.

For all its light-hearted comic interludes, Bend it like Beckham tackles contemporary issues of cultural clashes, female independence and the importance of family. Director Gurinder Chaddha tells the story of Jess Bhamra (Parminder K Nagra), a young girl brought up within the traditional boundaries of a Sikh family who manages to live out her fantasies in an uproarious way. Despite her parent's grounded roots the anglicised Jess joins the Hounslow Harriers and, with the help of her friend Jules (Keira Knightley), sneaks out of the house to follow her dream of playing alongside all-time hero David Beckham. The film draws interesting parallels between the two girls, one British and one Asian, highlighting that although their colour may be different many of their ideals are the same. Jules' British mother is no less horrified by her daughter's natural talent in soccer than Mrs Bhamra, and even mistakes one embrace between the girls as a lesbian relationship. Refreshingly, though, for once the parents are not portrayed as unreasonable: their disapproval of Jess' chosen path is a result of their concern for her, and in the end they can't help but to give in to her dreams. All in all, this is a film that shows the meaning of being British Asian today-and how it is possible for Asian girls to make round chapattis as well as to bend it like Beckham. -Anika Puri.

Possessed of startlingly fresh performances and a visual style of genuine panache, Shallow Grave was deservedly a BAFTA Best Film winner in 1994. This was clearly a film that deserved attention. Sure enough, the principal talents involved (Director Danny Boyle, Producer Andrew Macdonald, Writer John Hodge and actors Christopher Eccleston and Ewan McGregor) have gone on to huge successes both together (Trainspotting) and apart. The thriller's plot is simple enough: three flatmates take on a fourth (Keith Allen) who unexpectedly dies, leaving a mountain of cash behind. Who are your friends? Who can you trust? How far would you go for money? These are the questions facing Juliet (Kerry Fox), David (Eccleston) and Alex (McGregor) as the scenario spirals out of control around them. Somehow no matter what they do, the decisions seem to lead to one gruesome event after another. The film's often breakneck pace-backed by tunes from Leftfield-quickly became a much-copied style. Most agree that the copies pale beside the original, and this ice-cold morality poser remains the best view of post-80s greed on screen. On the DVD: Although presented in widescreen anamorphic format, both picture and sound are not much better than an average video playback. Add a static menu and just one trailer and this release will probably disappoint today's DVD collector. [+]

One of the best romantic comedies of the 1990s as well as a box-office hit, Jerry Maguire cemented writer-director Cameron Crowe's reputation as "the voice of a generation". Crowe could probably do without that label, but he's definitely in sync with the times with this savvy story about a sports agent (Tom Cruise) whose fall from grace motivates his quest for professional recovery, and the slow-dawning realisation that he needs the love and respect of the single mom (Renée Zellweger in her breakthrough role) who has supported him through the worst of times. This is one of Cruise's best, most underrated performances, and in an Oscar-winning role, Cuba Gooding Jr. plays the football star who remains Jerry Maguire's only loyal client on a hard road to redemption and personal growth. If that sounds touchy-feely, it is only because Crowe has combined sharp entertainment with a depth of character that is rarely found in mainstream comedy. -Jeff Shannon.

Tamra Davis' Best Men must have seemed a better idea on paper than it ends up being in practice, in spite of some snappy dialogue and good central performances. A group of male friends meet Jesse (Luke Wilson) out of prison to take him to his wedding to Hope (Drew Barrymore); along the way, their friend David pops into the bank for some money and turns out to be the Shakespeare-spouting bandit Hamlet. Suddenly all of them are his unwilling accessories in a hostage situation with David's sheriff father and murderous FBI men besieging them and a crowd cheering their every move. Each of the young men has a trauma and it is not only David who gets a soliloquy: gay Green Beret Buzz (Dean Cain) has an extended period of bonding with one of the hostages, demented Vietnam vet Gonzo (Brad Dourif). The eventual action sequences are curiously perfunctory and uninteresting and the obsessive FBI man, Hoover, has little motivation. This is a likable film which goes nowhere, but has quite a lot of gentle charm along the way to its tragic ending. On the DVD: the DVD is presented in a widescreen video aspect of 2. 35:1 and has Dolby surround sound; the special features are a slightly self-congratulatory "making of" featurette and the film's theatrical trailer. -Roz Kaveney.