In the delightful romantic comedy Green Card, Georges (Gérard Depardieu), a composer and one-time petty thief who grew up in poverty, attempts to escape his life in Paris and begin anew in America by illegally marrying Bronte (Andie MacDowell), a prim and repressed young lady from a privileged life in Connecticut. Bronte, who has agreed to the scheme for her own self-serving reasons, is exasperated when the Immigration & Naturalisation Service investigates their case, and she and Georges, whom she detests, must spend time together studying each other's lives to avoid disaster. The fallout is infinitely better handled than any run-of-the-mill Hollywood romantic comedy, and the very ending itself stops deliciously short of where Hollywood would feel compelled to drag the story. Fine performances are given by MacDowell, Depardieu-who is fiercely charming pounding the keyboard of a Steinway at an upper class Manhattan dinner party-and Bebe Neuwirth, who is perfect as an upper-class child turned artist who revels in her irresponsibility. -James McGrath, Amazon. com.

When Terms of Endearment was released in 1983, director and writer James L Brooks was lauded for his depiction of a complex mother/daughter relationship. For his leading ladies he chose actresses with two of the strongest personalities in Hollywood, but armed with an exceptionally witty script and endless patience he eventually drew magnificent performances from Shirley Maclaine as Aurora and Debra Winger as her daugher Emma, assisted considerably by Jack Nicholson's considerate professionalism. As the philandering retired astronaut who beds Maclaine and then provides her with surprising support in the film's dark later moments, Nicholson shines with comic brilliance which earned him an Oscar. It was no secret that Maclaine and Winger could barely contain a mutual antipathy on set. Yet they strike sparks off each other on screen. When comedy turns to tragedy with the development of Emma's cancer, the laughs continue even while the tear ducts are being given a good work out. In the glory days of Hollywood, this would have been acknowledged a great "women's picture" and its weepy credentials are impeccable. It stands out as a warm, accessible work that admirably rejects sugary sentiment in favour of the realistic rough edges that characterise most human relationships. On the DVD: Presented in 1. 78:1 anamorphic widescreen with a Dolby Digital 5. [+]

One of Hilary Duff's most attractive qualities is that she's not a borderline anorexic like too many Hollywood starlets; she has a warm, full-bodied presence that makes her dangerously glossy prettiness accessible. Similarly, Heather Locklear-who's been an iconic plastic blonde on television for decades-is cultivating a bruised humanity as she matures. These two combine forces in The Perfect Man, a curious teen comedy/adult romance hybrid about a single mother named Jean (Locklear, Melrose Place) whose tactic for getting over a broken heart is to move to a different part of the country, uprooting her two daughters Holly and Zoe (Duff, Cheaper by the Dozen, and newcomer Aria Wallace) in the process. Holly, to keep her mother from falling into another desperate and doomed relationship, uses advice from a schoolfriend's uncle (Chris Noth, Sex and the City) to send Jean flowers and love letters from a secret admirer. Of course, sustaining this fantasy requires some wacky antics, but The Perfect Man balances goofiness with an emotional mother/daughter tug-of-war and has some entertaining supporting actors (including Caroline Rhea, Sabrina, the Teenage Witch, and Carson Kressley, Queer Eye for the Straight Guy). The plot, however, has holes so big that it collapses even as it unfolds. -Bret Fetzer.

As rites-of-passage films featuring a young man's sexual initiation in the arms of a beautiful woman go, Class (1983) has plenty going for it, not least its attractive cast: Andrew McCarthy as Jonathan, Rob Lowe as Gatsby-ish best friend Skip and Jacqueline Bisset as the beautiful woman who is old enough to know better and just happens to be Skip's mother. Lewis John Carlino's film has moments of insight, taking a few well-aimed shots at the vaguely sinister network of American public school life. In the first reel it neatly subverts the bullying scenario that threatens when the geekish Jonathan arrives at the school, while offering the briefly intriguing sight of Lowe in scarlet bra and pants. And there's a subplot of deceit and complicity that both strengthens and threatens the friendship that rapidly forms between Skip and Jonathan. In many ways, though, the most interesting element of the picture-Skip's relationship with his dysfunctional family-is left unexplored. Jonathan's deflowering and subsequent interludes are merely titillating. And Bisset's Ellen, a desperately sad character, becomes superfluous once the revelation that she is the "teacher" sets the boys' friendship on the path to fraternal solidarity. On the DVD: Class is presented in widescreen anamorphic format and looks as good as its leading players, although the Dolby Digital mono soundtrack has odd moments of flatness that detract from the cinematic experience. Extras are limited to the cinema trailer that now looks like a red rag to the puritanical objectors who were appalled by the graphic scenes in which Jonathan loses his virginity to the predatory Ellen. -Piers Ford.

It was directed with energetic skill by Top Gun Tony Scott, but this breathtaking 1993 thriller (think of it as an adolescent crime fantasy on steroids) has Quentin Tarantino written all over it. True Romance is really part of a loose trilogy that includes Reservoir Dogs and Pulp Fiction, with a crackling Tarantino screenplay that rides a fine line between raucous comedy and violent excess. Christian Slater plays Clarence, the comic-book lover who meets a beguiling prostitute named Alabama (Patricia Arquette), confronts her vicious pimp (Gary Oldman), and embarks on a cross-country odyssey with $5 million worth of Mafia cocaine. Mayhem ensues, culminating in a favourite Tarantino climax-the "Mexican standoff"-in which a roomful of guys are pointing guns at each other, waiting to see who shoots first. Brutal, profane, and totally outrageous, True Romance is not for everyone, but with a supporting cast that includes Dennis Hopper, Christopher Walken, Brad Pitt, and Val Kilmer (as the ghost of Elvis!), you can be sure this movie will never be boring. -Jeff Shannon Written by Quentin Tarantino and directed by Tony Scott, True Romance is hilarious, violent and strangely moving. It's part homage to Terence Malick's Badlands, part autobiography, part nerdy male fantasy-and it's Tarantino's first and, some say, finest work. Although it fared poorly at the box office at the time it soon became an established cult classic, with a supporting cast that beggars belief: Brad Pitt, Christopher Walken, James Gandolfini, Val Kilmer, Dennis Hopper, Samuel L Jackson and Gary Oldman all play minor roles, all to devastating effect. Christian Slater stars as Clarence, the video-store clerk who's set up with Patricia Arquette's hooker Alabama on his birthday. They fall in love for real but have to hit the road when Clarence, egged on by the ghost of Elvis, kills Alabama's pimp Drexl (Oldman) and makes off with a consignment of neat cocaine, mistaking it for a suitcase of Alabama's clothes. [+]

After the box-office success of Phenomenon, John Travolta continued to charm audiences with this 1996 comedy-fantasy in which he plays a grubby angel who's got one last good deed to do before heading back to heaven. Living peacefully in the rural Iowa home of an old, friendly motel owner (Jean Stapleton), the winged Michael (Travolta) is hardly the image of a perfect angel. He's scruffy, unshaven, eats sweetened cereal by the box-full and chain-smokes all day long. But when tabloid reporters (William Hurt, Robert Pastorelli) learn of Michael's alleged existence and head to Iowa to check him out, Michael soon realises that it's his task to see that Hurt falls in love with an "angel expert" (Andie MacDowell) and breaks free from his habitually cynical attitude. There's more to the story, of course (and Chasing Amy fans will recognise Joey Lauren Adams as a waitress who charms the angel), but Michael is more about the effect that this enchanting angel has on the earthbound humans around him. Whether he's chipping away at Hurt's scepticism or attracting a crowd of women on a truck-stop dance floor, Michael is an enchanting figure, and Travolta plays him with just the right tone of humour, reverence and effervescent charm. Sure, it's lightweight fluff, but director Nora Ephron specialises in lightweight fluff, and Michael is the kind of feel-good movie that never wears out its welcome. -Jeff Shannon.

For all of its conventional plotting about an obsessive-compulsive curmudgeon (Jack Nicholson) who improves his personality at the urging of his gay neighboor (Greg Kinnear) and a waitress (Helen Hunt), who inspires his best behaviour, As Good As It Gets is one of the sharpest Hollywood comedies of the 1990s. Nicholson could play his role in his sleep (the Oscar he won should have gone to Robert Duvall for The Apostle) but his mischievous persona is precisely necessary to give heart to his seemingly heartless character, who is of all things a successful romance novelist. As a single mom with a chronically asthmatic young son, Hunt gives the film its conscience and integrity (along with plenty of wry humoor)and she also won an Oscar for her wonderful performance. Greg Kinnear had to settle for an Oscar nomination (while cowriter-director James L. Brooks was inexplicably snubbed by Oscar that year) but his work was also singled out in the film's near-unanimous chorus of critical praise. It's questionable whether a romance between Hunt and the much older Nicholson is entirely believable but this movie's smart enough-and charmingly funny enough-to make it seem endearingly possible. -Jeff Shannon.

The Barbra Streisand Collection consists of four movies: What's Up, Doc? (1972), Up the Sandbox (1972), The Main Event (1979) and Nuts (1987) In What's Up, Doc?, director Peter Bogdanovich tipped his hat to the classic screwball comedies of the 1930s, and especially the most glorious of them all, Howard Hawks' Bringing Up Baby. Barbra Streisand plays a charming flake who distracts a self-absorbed musicologist (Ryan O'Neal). He's engaged to be married, but soon Streisand's character has him chasing after stolen jewellery and getting into one madcap fix after another. -Tom Keogh Up the Sandbox springs from the early 1970s, when Streisand's career was in full stride. She stars as Margaret, a stay-at-home mum in the middle of New York who's feeling the strain of her narrow life. Frustrated by her self-involved husband and the mentally unstimulating tasks of motherhood, she escapes into fantasies-such as being chatted up by a cross-gendered Fidel Castro, bombing the Statue of Liberty with black militants and having a furious catfight with her overbearing mother. The movie's strength lies in these fantasies' slippery nature; some are over the top, but others are so subtle you're not always sure where they start and stop, making the portrait of Margaret's psyche intriguingly complex. -Bret Fetzer The Main Event is a comedic misfire from the mid-1970s, a futile attempt to bottle the same lightning that struck when Streisand teamed with Ryan O'Neal in What's Up, Doc? Here, Streisand plays a spoiled rich girl, the head of a bankrupt cosmetics company, who discovers she's lost everything-except her ownership of the contract of a washed-up boxer (O'Neal). So she tries to rally this dispirited pug into a comeback that will earn the kinds of purses that will put her back on her feet. Naturally, in the process, romantic sparks are kindled. [+]

A brilliant take on the tragedy that beset his country, Danis Tanovic's directorial debut No Man's Land is a bleak comedy set during the war in Bosnia. The story begins as a group of Bosnian soldiers emerge from a fog to realise that they have strayed into a thin strip of land unclaimed by either side in the conflict. A bloody sequence of events ensues, which results in a disputed trench being occupied by weathered Bosnian veteran Branko Djuric and his opposite number, Rene Bitorajac's Serbian greenhorn. There's a standoff between them, complicated by Djuric's injured colleague lying atop a "bouncing mine". He's a human booby trap-move him and the everything within 50 yards will be blown sky-high. As the blue-hatted, ineffectual UN are called in, and with the world's media, led by the late Katrin Cartlidge as a rather snotty BBC reporter, swiftly arriving on the scene, this single trench becomes an almost Beckettian metaphor for the war. Tanovic is not especially concerned with taking sides in the Bosnian-Serb conflict. Whatever its causes, both sides are seen to be as bad, or more accurately as desperate, as each other. That it's hard, for outsiders in particular, to tell who's who much of the time only heightens the irony. There's anger at the media intrusiveness ("Does our misery pay well?" screams Djuric at the reporters), but what's really conveyed is a sense of the absurdity, futility and intractability of war, as summarised in the final image. [+]

Wag the Dog (1997) is a rarity: an intelligent, sophisticated and very funny film about American politics. Just before an election the President-in an uncanny anticipation of real life-gets sexually involved with a young woman, leaving spin-doctor Robert De Niro to think of something quick. He enlists Hollywood producer Dustin Hoffman to help him concoct a war against Albania to take the public's mind off the President's peccadilloes. Both stars are in top form, with Hoffman particularly funny as the larger than life producer. Scripted by David Mamet (House of Games, Glengarry Glen Ross) and directed by Barry Levinson, (whose previous comedies include Good Morning, Vietnam with Robin Williams and Tin Men with Danny De Vito) Wag the Dog manages to make you laugh even while you're thinking about how true the insights are, and how politics is getting more like the media every day. On the DVD: The so-called platinum DVD is packed with features. There is a series of production shots, assembled in no particular order, some showing the director watching filming on his monitor. There are interview clips with Hoffman, De Niro, Anne Heche, William H Macy and Barry Levinson talking about the film, plus scrolled filmographies. There's an audio commentary on the whole film by Levinson and Hoffman, occasionally rambling but with some interesting insights. In another feature, Macy talks at some length about David Mamet. [+]

In Corrina, Corrina Ray Liotta plays a 1950s jingle composer whose wife dies, leaving him to raise their grieving young daughter (Tina Majorino) alone. Dad hires an African-American housekeeper (Whoopi Goldberg), who helps fill the gap in the child's life-and then Dad's life. Soon an interracial relationship crossing the social mores of the era is underway. Written and directed by Jessie Nelson (The Story of Us), the film is a spot-on recreation of 1950s suburbia without gratuitous kitsch. Liotta is perfect as a working man of the day, given to white shirts and narrow ties; Goldberg gives one of her finest performances as the level-headed Corrina; and little Majorino is heartbreakingly effective. But the film entirely bears the stamp of one person, and that's Nelson, who has a wonderfully witty eye and a sophisticated but sensitive approach to the crosscurrents of emotion at play in this story. -Tom Keogh, Amazon. com.

This likeable, feminist screwball comedy about several incidents of mistaken identity is remembered more as the film that made Madonna a movie star. She's flip, hip and energetic as Susan, the wild tramp with whom bored, suburban New Jersey housewife Roberta Glass (Rosanna Arquette) becomes obsessed after reading of her sexual conquests in the personal ads. Of course, since Madonna essentially played herself, the role's hardly a stretch. Director Susan Seidelmen presents a series of zany incidents too complicated to recount, but the result is that Roberta swaps lifestyles with her fixation to explore New Wave culture on New York's Lower East Side. It's territory Seidelmen knew well as her more offbeat, indie debut, Smithereens, revelled in the same setting. But where Smithereens took a more edgy approach to its characters, Susan is a fairy tale romantic comedy, and eventually becomes as conventional as the suburban characters it mocks by settling conflicts with predictable Hollywood formulae. Still, there's much to be enjoyed. The film's at its funniest when juxtaposing New York hip and New Jersey suburbia, like when Arquette's straight, suit-and-tie husband dances with Madonna in a punk club. The performances, too, are engaging, especially Arquette and Aidan Quinn, playing a romantic film projectionist who becomes her grubby Prince Charming. -Dave McCoy, Amazon. [+]

"What's it all about, Alfie?" asked the hit Burt Bacharach/Hal David title song, to which the less philosophical answer might be: an amoral young man comically seducing a succession of beautiful women in swinging-sixties London. Michael Caine was the titular anti-hero, here consolidating his new star status from Zulu (1964) and The Ipcress File (1965), his conquests including Shelley Winters, Jane Asher and Shirley Ann Field. Alfie was a huge success, bringing a new frankness about changing sexual attitudes to the screen, in which respect it was almost the male companion to Julie Christie's then shocking, Oscar-winning performance in Darling (1965). It was also a sort-of contemporary Tom Jones, which had swept the Oscars for 1963, however, Alfie was not only better made, but in Michael Caine's guilelessly amoral asides to camera, offered a groundbreaking illustration of a newly self-conscious cinema. It is a technique Caine would reprise as the middle-aged philanderer in Blame It On Rio (1983). With Blow Up also released in 1966, and Ken Russell's Women In Love following in 1969, British film-making was truly in the midst of a sexual revolution. Michael Caine would reunite with director Lewis Gilbert and meet his female match in Educating Rita (1983). -Gary S. Dalkin.

It's refreshing to see a film in which the writer receives equal credit with the director, showing that the dialogue actually means something. So it is with Smoke, a film about a New York quilt of contemporary characters who cross paths in a corner smoke shop, told in straightforward way by a talented acting group. Author Paul Auster and director Wayne Wang (The Joy Luck Club) worked on the story for years before it reached the screen. Their characters include Paul (William Hurt, in a good role again), a grief-stricken novelist; Auggie (Harvey Keitel), the shop's owner with a secret passion; Ruby (Stockard Channing), Auggie's long-ago girlfriend; and Rashid (Harold Perrineau Jr), a teenager who is befriended by Paul and seeks his estranged father (Forest Whitaker). All the characters are great storytellers, whether it be out of loneliness, necessity or just nature. Like Auster's The Music of Chance, the film has accomplished an amazing feat: it makes us feel as if we are reading a serious novel, not watching a movie. -Doug Thomas.