Hal Ashby's much-praised Being There stars Peter Sellers in what was perhaps his finest comic performance. Chance the gardener has spent his entire life in an old man's house and has no idea of the world outside except for what television has given him. Sellers manages to make his innocence touching and oddly impressive rather than an offensive exploitation of disability. Jerzy Kozinski's screenplay neither entirely endorses nor discounts the twin possibilities that Chance's simplicity and closeness to the natural world give him access to real wisdom, or that he is simply a blank on whom people project what they want to see and hear. What is clear is that he gives his dying friend Ben (Jack Warden) peace of mind and consoles Ben's wife (Shirley Maclaine). Whether he's being groomed for the Presidency or appearing to walk on water, he always does something right, and the same is true for Sellers' minimalist performance. On the DVD: Being There is presented in a widescreen visual aspect of 1. 85:1 and has 1. 0 Dolby Digital mono sound; it comes with the original theatrical trailer, information about the stars and director and a list of the film's awards. -Roz Kaveny.

One of the most endearing and intelligent romantic comedies of the 1990s, the Oscar-winning Shakespeare in Love is filled with such good will, sunny romance, snappy one-liners and devilish cleverness that it's absolutely irresistible. With tongue placed firmly in cheek, at its outset the film tracks young Will Shakespeare's overwrought battle with writer's block and the efforts of theatre owner Philip Henslowe (Geoffrey Rush, in rare form) to stage Will's latest comedy, Romeo and Ethel, the Pirate's Daughter. Jokey comedy, though, soon takes a backseat to ravishing romance when the beautiful Viola De Lesseps (Gwyneth Paltrow) disguises herself as a young man to wangle herself an audition in the all-male cast and wins both the part of Romeo and, after much misunderstanding, the playwright's heart. Soon enough, Will's pirate comedy becomes the beautiful, tragic Romeo and Juliet, reflecting the agony and ecstasy of Will and Viola's romance-he's married and she's set to marry the slimy Lord Wessex (Colin Firth). The way that Oscar-winning screenwriters Marc Norman and Tom Stoppard enfold their story within the parameters of Romeo and Juliet (and even Twelfth Night) is nothing short of brilliant-it would take a Shakespearean scholar to dissect the innumerable parallels, oft-quoted lines, plot developments, and thematic borrowings. And most amazingly, Norman and Stoppard haven't forgotten to entertain their audience in addition to riding a Shakespearean roller coaster, with director John Madden (Mrs. Brown) reigning in his huge ensemble with rollicking energy. Along the way there are small gems to be found, including Judi Dench's eight-minute, Oscar-winning turn as a truly regal Queen Elizabeth, but the key element of Shakespeare in Love's success rests on the milky-white shoulders of its two stars. Fiennes, inexplicably overlooked at Oscar time, is a dashing, heartfelt Will and as for Best Actress winner Paltrow, well, nothing she'd done before could have prepared viewers for how amazing she is here. Breathtakingly beautiful, fiercely intelligent, strong-willed and lovestruck-it's a performance worthy of Shakespeare in more ways than one. [+]

Written by and starring Rob Brydon and Julia Davis, Human Remains features six different "mockumentaries" with the pair playing couples caught in bizarre, dysfunctional or hopelessly imbalanced relationships. These include an upper-class couple, in which wife openly pines for her first, lost love, whom she has buried on the grounds; a thoroughly homely hubby and wife who run a guest house in the Midlands that features an S&M parlour; and a ghastly pair of God-botherers who live in a state of curtain-twitching loathing of their neighbours. While the sheer range of characters depicted in Human Remains represents a prodigious feat on the part of both actors, the show has much in common with Brydon's other hit Marion and Geoff. The strangeness or awfulness of each couple's situation generally takes a while to come into focus, the deeper truths conveyed through low-level bickering, cumulatively revealed in deceptively banal interviews to camera. Brydon and Davis are sometimes merciless in their satirical savagery, as with the Alanis Morissette wannabe Fonte Bund; at other times, Human Remains is too bleak to watch. However, the sheer acuity and detail with which these characters are unwittingly realised, coupled with the brilliance of the (semi-improvised) monologues/dialogue means that our encounters with them, although mercifully brief, are both hilarious and touching. This is an exceptional series. On the DVD: Human Remains features a generous package of extras, including deleted scenes and outtakes, among them an extension of the "healing" scene featured in the episode with the S&M couple, footage of the early rehearsals and improvisations from which the characters took shape, a commentary in which Davis and Brydon recap on the circumstances of the filming, an excerpt of the pair in S&M gear singing "American Pie" in rich Brummie accents and, best of all, the Fonte Bund Band in which the folk-rock duo featured in the series have an added, Spinal Tap-type documentary also starring John Martyn (who supplies the series' theme). -David Stubbs.

Jennifer Garner's lips grow more Angelina-esque every year. In the romantic comedy Catch and Release, Garner (Alias,13 Going On 30) plays Gray Wheeler, a young woman whose fiance dies unexpectedly before the wedding, leaving Gray unable to afford her home-so she moves in with her fiance's best friends, Sam (Kevin Smith, director of Clerks and Dogma) and Dennis (Sam Jaeger, Lucky Number Slevin). But the presence of another old friend named Fritz (Timothy Olyphant, Deadwood) leads to the unveiling of a secret: Gray's fiance had a child with another woman. Catch and Release lacks the clear story structure that most romantic comedies are built on, but trades it for a richer sense of the ambiguities of human relationships. Garner, though lovely and personable, is a bit bland-fortunately, she's surrounded by actors with all kinds of edges, including Smith (who shows an unexpected and uncloying earnest side), Fiona Shaw (from the Harry Potter movies) as the fiance's grieving mother, and Juliette Lewis (Cape Fear), who demonstrates once again her powers as a fearless and surprising actress. Catch and Release is an uneven movie with a remarkably elegant visual style that sometimes clashes with the workman-like dialogue, but it can't be written off as the same old Hollywood claptrap. Though a happy ending is inevitable, the path it takes has some surprising turns and flashes of unexpected emotional depth. - Bret Fetzer.

Five best friends, 48 hours and a bucketload of ecstasy pills make for an enjoyably lightweight slice of pop-cultural ephemera from debut director Justin Kerrigan. Cardiff is the city, and hardcore partying, clubbing and pubbing is on the menu as Jip (John Simm) and his renegade band of McJobbers clock off and head out for a weekend of debauchery. Among Jip's hedonistic posse are the cheeky cockney drug-dealer Moff (Danny Dyer), the terminally jealous boyfriend Koop (Shaun Parkes) and the bad-boy magnet Lulu (Lorraine Pilkington). And that's pretty much it. Our heroes meet in a pub, get drunk, take drugs, go to a club, then to a party, then home and then meet up in another pub, just in time for the closing credits. Along the way there's a shamefully lethargic attempt to establish character back-story: Jip is temporarily sexually impotent because his mother's a prostitute; Koop's father is institutionalised; Lulu has nasty boyfriends; and Moff has conservative parents. But generally Human Traffic is happier at the heart of the party, celebrating the intoxication of club culture-which it does in style. Kerrigan pulls out all the formal stops with an energetic melange of jump cuts, slo-mo, and speeded-up "smudge" motion camerawork. There's also direct addresses to camera, fantasy sequences and some self-conscious cameos from DJ Carl Cox and former-drug dealer Howard Marks, author of Mr Nice. Wall-to-wall music from the likes of Fatboy Slim, William Orbit and even Primal Scream help paste over the occasional cracks in the veneer, which include some particularly duff lines ("We're gonna get more spaced than Neil Armstrong ever did!") and a drawn analysis of drug references in Star Wars, a nod to the films of Kevin Smith, such as Clerks, Mallrats and Chasing Amy. [+]

Like a good dream, Sofia Coppola's Lost in Translation envelopes you with an aura of fantastic light, moody sound, head-turning love, and a feeling of déjà vu, even though you've probably never been to this neon-fused version of Tokyo. Certainly Bob Harris has not. The 50-ish actor has signed-on for big money shooting whiskey ads instead of doing something good for his career or his long-distance family. Jetlagged, helplessly lost with his Japanese-speaking director and out of sync with the metropolis, Harris (Bill Murray, never better) befriends the married but lovelorn 25-year-old Charlotte (played with heaps of poise by 18-year-old Scarlett Johansson). Even before her photographer husband all but abandons her, she is adrift like Harris but in a total entrapment of youth. How Charlotte and Bill discover their soul mates will be cherished for years to come. Written and directed by Coppola (The Virgin Suicides), the film is far more atmospheric than plot-driven: we whiz through Tokyo parties, karaoke bars and odd nightlife, always ending up in the impossibly posh hotel where the two are staying. The wisps of bittersweet loneliness of Bill and Charlotte are handled smartly and romantically, but unlike modern studio films, this isn't a May to December fling film. Surely and steadily, the film ends on a much-talked-about grace note, which may burn some, yet awards film lovers who "always had Paris" with another cinematic destination of the heart. -Doug Thomas.

Sophia Coppola's alternately dreamy and unsettling film about five suburban sisters who all mysteriously kill themselves (the voice-over tells you as much in the first five minutes) casts a witchy spell that lingers like drugstore perfume on a hot day. Beautifully adapted from Jeffrey Eugenides' icily perfect novel (perhaps the best, if not only, work of fiction narrated exclusively in the first-person plural), the 1970s-set film is constructed as the collective memory of the neighbourhood boys who worshipped the beautiful Lisbon girls, blonde sylph-like teen siblings whose beauty and self-destruction still haunts and perplexes the narrators, now grown men. Why did they do it? Maybe because their Catholic mother (Kathleen Turner, magnificently clenched) locked them all up when near-youngest daughter Lux (the exquisite Kirsten Dunst) stayed out all night after the prom. Maybe it was due to a kind of pubertal feminine hysteria, set off by the first suicide of the youngest daughter Cecilia. Maybe they were infected by a more general malaise (the film fairly teams with images of dying elm trees, infested lakes and fetid nastiness). Or maybe they will just never know what it's like, in the words of Cecilia, to be a 13-year-old girl. Coppola has a canny eye for 1970s kitsch and the tawdry, touching magic totems of girlhood (tampons, bright bikinis, half-used make-up) and coaxes terrific deadpan performances both from the younger cast and the veterans. (James Woods as the nerdy Lisbon patriarch is as delightfully cast against type as Turner. ) For all the languid gloom, there is great wit in the observation of 1970s decor and playful touches abound: airbrushed flashbacks like vintage Timotei commercials; inserts to reveal Lux has the name of her date magic markered on her knickers; teeth and eyes that sparkle unnaturally with post-production tricks. The soundtrack hits just the right wistful ironic note with a mix of period tunes by Todd Rungren, Gilbert O'Sullivan and the like, complemented by the electronica of French pop band Air (whose standalone efforts for the film are also available on a separate CD. [+]

It's been some time some French director Luc Besson stepped behind the camera. And truthfully, Angel-A, good as it is, is a little underwhelming, particularly when you see that Besson's curriculum vitae includes Leon, The Big Blue and The Fifth Element. Still, that's not to say that Angel-A is a film without merit. Quite the contrary, in fact, as this simple, diverting tale has plenty in its corner. Andre, played by Jamel Debbouze, is just about to end his life. When we meet him, he's heavily in debt and he chooses to drown himself in the River Seine. Yet he's saved by the mysterious Angel-A of the film's title (played by Rie Rasmussen), and she offers to help Andre pull through his current problems. Thus, the stage is set for a pleasant, engaging mix of comedy, drama and a dose of romance, made all the stronger by its likeable lead actors. While Angel-A is undoubtedly lacking the ambition of some of Besson's earlier work, it's a film that's hard not like. It's beautifully shot, tightly put together and thrives on its ultimate simplicity. [+]

The second series of the award-winning BBC2 mockudrama The Office exceeded even the sky-high standards of the first. Indeed, it ventured beyond caricature and satire, touching on the very edge of darkness. Ricky Gervais was once again excruciatingly superb as David Brent, a subtly shaded modern English comic grotesque in the desperate and self-deluding tradition of Alan Partridge and Basil Fawlty. In this series, however, Brent's to-camera assertions concerning his man-management qualities and executive capabilities are seriously challenged when the Slough and Swindon branches are merged and his former Swindon equivalent Neil takes over as area manager. To compensate Brent cultivates his pathologically mistaken image of himself as an entertainer/motivator/comedian whose stage happens to be the workplace. This culminates in a comically disastrous motivational session ending with a sing-along of Tina Turner's "Simply the Best", which is greeted, typically, with stunned, appalled silence. Meanwhile, Tim, who can only maintain his sanity by teasing the priggish, puddingbowl-haired Gareth, continues to wrestle with his yearning for receptionist Dawn, a sympathetic character persisting with a relationship with a yobbish bloke about whom she still maintains unspoken reservations. As ever, it's the awkward, reality TV-style pauses and silences, the furtive, meaningful and unmet glances across the emotional gulf of the open-plan office, that say it all here. As for Brent, his own breakdown is prefaced by a moment of hideous hilarity-an impromptu office dance, a mixture of "Flashdance and MC Hammer" as Brent describes it, but in reality bad beyond description. Then, when his fate is sealed, he at last reveals himself as a humiliated and broken man in a memorable finale to perhaps the greatest British sitcom, besides Fawlty Towers, ever made. [+]

Graham Greene wrote this witty comedy inspired by Cold War paranoia. Jim Wormald (Alec Guiness) is an Englishman selling vacuum cleaners in Cuba on the cusp of the revolution. Hawthorne (Noel Coward), a British intelligence agent, is looking for information on Cuban affairs and recruits Jim to act as a spy. Jim has no experience in espionage and no useful knowledge to pass along, but Hawthorne is willing to pay for his services, and since Jim's daughter Milly (Jo Morrow) has expensive tastes, he can use the money. To keep Hawthorne happy (and his paycheques coming in), he turns in reports on the Cuban revolution that are copied from public documents, "hires" additional agents who don't exist, and presents blueprints of secret weapons that are actually schematics of his carpet sweepers. However, Hawthorne and associate "C" (Ralph Richardson) think that Jim is doing splendid work and encourage him to continue; meanwhile, Capt. Segura (Ernie Kovacs), the elegantly corrupt chief of police, has been fooled by Jim's charade into believing he's a real spy and has also become attracted to Milly. Our Man in Havana also features Burl Ives and Maureen O'Hara in supporting roles.

Here's how American critic Roger Ebert described the unique and lasting value of George Lucas' 1973 box-office hit, American Graffiti: "[It's] not only a great movie but a brilliant work of historical fiction; no sociological treatise could duplicate the movie's success in remembering exactly how it was to be alive at that cultural instant. " The time to which Ebert and the film refers is the summer of 1962, and American Graffiti captures the look, feel, and sound of that era by chronicling one memorable night in the lives of several young Californians on the cusp of adulthood. (In essence, Lucas was making a semi-autobiographical tribute to his own days as a hot-rod cruiser, and the film's phenomenal success paved the way for Star Wars. ) The action is propelled by the music of DJ Wolfman Jack's rock & roll radio show-a soundtrack of pop hits that would become as popular as the film itself. As Lucas develops several character subplots, American Graffiti becomes a flawless time capsule of meticulously re-created memory, as authentic as a documentary and vividly realised through innovative use of cinematography and sound. The once-in-a-lifetime ensemble cast members inhabit their roles so fully that they don't seem like actors at all, comprising a who's who of performers-some of whom went on to stellar careers-including Ron Howard, Richard Dreyfuss, Harrison Ford, Cindy Williams, Mackenzie Phillips, Charles Martin Smith, Candy Clark, and Paul Le Mat. A true American classic. -Jeff Shannon, Amazon. com.

Julie Delpy, as well as a being a beautiful and talented actress, is a woman of many talents. Want the proof? Then Two Days In Paris, a warm and distinctly European-feel comedy that she also scripted and directed, is a terrific piece of evidence. It's one of 2007's most engaging surprises, too. Delpy previously co-scripted the wonderful Before Sunset, and Two Days In Paris has a similar feel. The film follows Delpy's Marion and Adam Goldberg's Jack as they spend time in the French capital, dealing with the assortment of issues and scenarios it throws up. Given that Marion is French and Jack is American, there are cultural issues that are explored. Yet it's a character piece at heart, and that's where the film's strength lies. Because the treat with Two Days In Paris is the quality of writing. With dialogue crucial to the film's success, Delpy's script generates engaging conversations and characters well worth spending time with. The film itself doesn't quite scale the heights of the aforementioned Before Sunset, but it's the film that comes the closest since to doing so. [+]

Gosh-kids. You gotta love 'em, right? Well, not necessarily-particularly if you're Adam Sandler. But Big Daddy is about paternal devotion in its own oblique way. Sandler plays Sonny Koufax, a law-school grad who has been milking an accident settlement to cover his living expenses, while he continues to slack his way through life. But when his girlfriend threatens to dump him, he decides to show her he's serious about their relationship and pretends to adopt a little boy (in fact, his roommate's son from a one-night stand several years earlier, who shows up on their doorstep just after the roommate leaves town on a job). But after taking care of the tyke for a couple of days, Sonny finds that it's a little like feeding that stray dog that followed you home: before you know it, you've grown attached to the little fella-and then what are you going to do? By turns crude and maudlin, Big Daddy has its share of laughs and will certainly entertain fans who like Adam Sandler best when he plays the case of arrested development with a smart-aleck retort for everything. -Marshall Fine.