A disc that features three more superb episodes from David Tennant's first series in the TARDIS, this DVD finds Doctor Who facing one of his deadliest opponents-the Cybermen. The lethal foes are brought back to life in the first two episodes on this disc, Rise Of The Cybermen and The Age Of Steel. They find the Doctor, Rose and Mickey in an alternative version of Earth, where zeppelins dominate the London skyline and Roger Lloyd Pack's maniac genius is hard at work on an enhanced version of humankind. Ruthlessly harvesting humans, his work is soon revealed as the all-new Cybermen, who are as fatal as ever. And while the two-part story may cut the odd corner here and there, it's nonetheless a triumphant return in an action-packed, tightly scripted story. However, the real treat on the disc is the lower profile episode, The Idiot's Lantern. Set at the time of Elizabeth II's coronation, the Doctor and Rose find a shop offering strangely low cost television sets, and people worried by rumours of strange goings in. Buoyed by a guest appearance by Maureen Lipman, this is yet another highpoint for an increasingly confident series, by turns clever, sinister and intriguing. In short, the best disc yet of episodes from the second new series of Doctor Who. And there's the promise of even better around the corner. [+]

A big summer blockbuster, Pearl Harbor is pitched as a romantic epic, but the story is essentially a frame for an impressive depiction of the Japanese attack on that "day of infamy", deploying all the modelwork, CGI, stunts and special effects necessary to trump previous screen re-enactments in Tora! Tora! Tora! and From Here to Eternity. At heart, it's another Top Gun-style exercise in heroically sublimated homosexuality as Rafe (Ben Affleck) and Dan (Josh Hartnett), lifelong buddies, fall out over a ridiculous contrivance that allows both decently to fallin love with a nurse (Kate Beckinsale) but forget all their differences when the fighting starts-as expected, their big climax comes in each other's arms, with Kate left behind as one wounded buddy extracts a promise from the other to look after his unborn child. Historical snippets are interleaved, with Mako and Jon Voigt stiff under the prosthetics asAdmiral Yamamoto and Franklin Roosevelt, and a lot of detail is given about things like the wooden rudders on the new Japanese torpedoes, the chaos in the understaffed hospital as the heroine is forced to make lipstick triage marks on wounded men's foreheads and the terrible effects of strafing. A surprisingly bright little performance from Dan Aykroyd (a sole reminder of 1941) as an intelligence analyst is balanced by an insufferably smug one from Cuba Gooding Jr as a token black supporting hero. It's the first film of the George W Bush era: aggressive and dumb as a rock, utterly uninterested in period-no one in this WWII-era army smokes, swears or uses racial abuse (Gooding's boxing opponent sneers at him because he's a cook)-and awkwardly straddles a dignified treatment of the Japanese and America's actual spasm of hatred after the attack (one soldier refuses to be treated by a Japanese doctor, but that's it). When Pearl Harbour is bombed, we see endangered dogs, drowning men and dead women, but when Tokyo gets blasted in payback only buildings are destroyed and in long-shot. Michael Bay (Armageddon) remains a jittery director, a great second-unit man who can't deal with people or stories. It borrows from Titanic and Saving Private Ryan, but tidies the war of the latter up so it can still haul in a broad audience and therefore misses the real tragic sense of the former. -Kim NewmanOn the DVD: Considering there are two discs in the special edition of this special effects homage, the second DVD is woefully short of extras. There is a 45-minute featurette on the highs and lows of bringing Michael Bay's magnum opus to the screen which, along with the usual interviews with cast and crew, features the more compelling eyewitness testimony bringing the events of December 7, 1941 to life. [+]

The 1970s were difficult years for the great Japanese director Akira Kurosawa. Having been unable to secure full Japanese backing for his epic project Kagemusha, the 70-year-old master found American support from George Lucas and Francis Ford Coppola, who served as co-executive producers (through 20th Century Fox) for this magnificent 1980 production-to that date the most expensive film in Japanese history. Set in the late-16th century, Kagemusha centres on the Takeda clan, one of three warlord clans battling for control of Japan at the end of the feudal period. When their leader Lord Shingen (Tatsuya Nakadai) is mortally wounded in battle, he orders that his death be kept secret and that his "kagemusha"-or "shadow warrior"-take his place for a period of three years to prevent clan disruption and enemy takeover. The identical double is a petty thief (also played by Nakadai) spared from execution due to his uncanny resemblance to Lord Shingen-but his true identity cannot prevent the tides of fate from rising over the Takeda clan in a climactic scene of battlefield devastation. Through stunning visuals and meticulous attention to every physical and stylistic detail, Kurosawa made a film that restored his status as Japan's greatest filmmaker, and the success of Kagemusha enabled the director to make his 1985 masterpiece, Ran. -Jeff Shannon.

Martin Scorsese's 1990 masterpiece GoodFellas immortalises the hilarious, horrifying life of actual gangster Henry Hill (Ray Liotta), from his teen years on the streets of New York to his anonymous exile under the Witness Protection Program. The director's kinetic style is perfect for recounting Hill's ruthless rise to power in the 1950s as well as his drugged-out fall in the late 1970s; in fact, no one has ever rendered the mental dislocation of cocaine better than Scorsese. Scorsese uses period music perfectly, not just to summon a particular time but to set a precise mood. GoodFellas is at least as good as The Godfather without being in the least derivative of it. Joe Pesci's psycho improvisation of Mobster Tommy DeVito ignited Pesci as a star; Lorraine Bracco achieves a career-defining performance as the love of Hill's life; and every supporting role, from Paul Sorvino to Robert De Niro, is a miracle. Given the number of truly great Mafia movies over the years it would be a brave soul who classed GoodFellas as the best. But surely we can all agree that it is, at the very least, first among equals. Martin Scorsese took the factual details of mobster Henry Hill's life, as written by author Nicholas Pileggi, and turned it into a cinematic experience that has burnt itself indelibly into the consciousness of every viewer, and which now forms a touchstone in the lexicon of film and TV-making (what is The Sopranos if not GoodFellas: The Soap?) For aficionados it's a virtuoso exercise in filmmaking, showcasing remarkable and innovative use of steadicam shots, freeze-frame, voice-over narration, editing and incidental music (you'll never be able to listen to "Layla" the same way again). Every would-be hotshot director from Quentin Tarantino to Doug Liman to Jon Favreau has paid homage to it. But above all that, it's an extraordinarily visceral, gripping and thoroughly enjoyable piece of storytelling as we witness the glory days of organised crime from the protagonist's viewpoint; then, abruptly after one bloody murder too far, we see him decline in a spiral of drugs, violence and paranoia. [+]

Charmed: The Complete Fourth Season is a captivating story of big changes in the world of the Halliwell sisters. San Francisco witches Phoebe (Alyssa Milano) and Piper (Holly Marie Combs) grieve the loss of Prue (Shannen Doherty) at the same time they discover the existence of a fourth Halliwell sibling: Paige (Rose McGowan ), offspring of the girls' late mother and a Whitelighter (thus making Paige part witch and part angel). Paige was raised as an adopted child, but has been aware of her sisters for awhile. Still, she's ambivalent about joining forces with them (despite having two powers instead of the usual one), and Piper-now the oldest of the surviving sisters, reluctantly taking over Prue's position as leader-is in no hurry to welcome Paige into the fold. Blood and loyalty prevail, however, and soon Paige takes over Phoebe's old role as screw-up rookie, mangling potions and causing havoc (such as switching bodies with Phoebe at an inopportune time). But her strong survival sense, compassion, and ability to read people (she's studying to become a social worker) add a powerful new weapon to the Halliwell arsenal. Meanwhile, several key storylines from the third season carry over to this new year, notably the running drama concerning demon-with-a-soul Cole (Julian McMahon) and his ongoing battle to stay free of hell's wrath while maintaining dark powers. His romance with Phoebe leads them to become ruler and queen of the Underworld, where Phoebe's loyalty is tested and a demonic baby enters the picture. Piper and her husband, Whitelighter Leo (Brian Krause), deal with sorrow over Prue and frustration over not being able to have a child, and the sisters' police ally, Inspector Morris (Dorian Gregory), has to contend with an out-of-control boss bent on charging the Halliwells with a crime. All that and a witch-hunter and appearance by the angel of destiny, who offers to relieve the witches of their magical burden. [+]

In the US, 1999 may be remembered as the year of Joan of Arc: NBC created a miniseries in her honor, Carl Dreyer's long-lost The Passion of Joan of Arc was discovered in a mental hospital, and Facets re-released Jacques Rivette's Joan the Maid. Luc Besson rounds out the corpus with his stylistic and vaguely heretical grand-scale feature, The Messenger: The Story of Joan of Arc. Besson (La Femme Nikita, The Fifth Element) challenges established notions about the Maid of Orleans as he creates a decidedly more human heroine than have previous biopics. The story line is the same-a young, illiterate peasant girl convinces the Dauphin of France to give her an army, and she leads them to victory in Orleans, only to be burned at the stake for heresy-but Milla Jovovich, in the title role, is a woman possessed. Her influences are less than heavenly; as a child she witnesses the murder of her sister by the English, a death caused by the sister's giving her hiding place to young Joan, which causes an intense desire for revenge. Yes, God still speaks to Joan, but even this is undermined, as Dustin Hoffman, playing The Conscience, questions her motives. Cinematically, The Messenger is stunning, with fantastical sequences of Joan in communication with higher powers. Yet the graphic violence (scenes include random decapitation and a dog gnawing on a body); the uneven accents, which make it difficult to tell who is fighting on which side; and the rewriting of lore may make this version of Joan of Arc appeal only to Besson fans. Jovovich is convincing, and while at times the film may drag (at times you wish they'd hurry up and burn her), it is a remarkable and insightful retelling of a well-known piece of history. -Jenny Brown.

With the knockout one-two punch of 1992's Reservoir Dogs and 1994's Pulp Fiction writer-director Quentin Tarantino stunned the filmmaking world, exploding into prominence as a cinematic heavyweight contender. But Pulp Fiction was more than just the follow-up to an impressive first feature, or the winner of the Palme d'Or at Cannes Film Festival, or a script stuffed with the sort of juicy bubblegum dialogue actors just love to chew, or the vehicle that re-established John Travolta on the A-list, or the relatively low-budget ($8 million) independent showcase for an ultrahip mixture of established marquee names and rising stars from the indie scene (among them Samuel L Jackson, Uma Thurman, Bruce Willis, Ving Rhames, Harvey Keitel, Christopher Walken, Tim Roth, Amanda Plummer, Julia Sweeney, Kathy Griffin and Phil Lamar). It was more, even, than an unprecedented $100-million-plus hit for indie distributor Miramax. Pulp Fiction was a sensation. No, it was not the Second Coming (I actually think Reservoir Dogs is a more substantial film; and PT Anderson outdid Tarantino in 1997 by making his directorial debut with two even more mature and accomplished pictures, Hard Eight and Boogie Nights). But Pulp Fiction packs so much energy and invention into telling its nonchronologically interwoven short stories (all about temptation, corruption, and redemption amongst modern criminals, large and small) it leaves viewers both exhilarated and exhausted-hearts racing and knuckles white from the ride. (Oh, and the infectious, surf-guitar-based soundtrack is tastier than a Royale with Cheese. ) -Jim Emerson With Pulp Fiction writer-director Quentin Tarantino stunned the filmmaking world, exploding into prominence as a cinematic heavyweight contender after initial success with 1992's Reservoir Dogs. But Pulp Fiction was more than just the follow-up to an impressive first feature, or the winner of the Palme d'Or at Cannes Film Festival, or a script stuffed with the sort of juicy bubblegum dialogue actors just love to chew, or the vehicle that re-established John Travolta on the A-list, or the relatively low-budget ($8 million) independent showcase for an ultra-hip mixture of established marquee names and rising stars from the indie scene (among them Samuel L Jackson, Uma Thurman, Bruce Willis, Ving Rhames, Harvey Keitel, Christopher Walken, Tim Roth, Amanda Plummer, Julia Sweeney, Kathy Griffin and Phil Lamar). It was more, even, than an unprecedented $100-million-plus hit for indie distributor Miramax. [+]

Based on the true story of Lord Louis Mountbatten's destroyer HMS Kelly, In Which We Serve is one of the most memorable British films made during World War II. Unfolding in flashback as survivors cling to a dingy, constantly strafed by the Luftwaffe, the film recounts the history of HMS Torrin through various battles to her sinking off the coast of North Africa, interwoven with the onshore lives of her crew. The film was the inspiration of Noel Coward, who desperately wanted to do something for the war effort, and he produced, wrote the screenplay, composed the stirring musical score and starred as Captain Edward Kinross. Coward also officially co-directed, though in reality he soon handed the reigns over to David Lean, whose directorial debut this became. There is a fine performance from Celia Johnson, anticipating her character in Lean and Coward's Brief Encounter (1946) and excellent support from John Mills, as well as a star-making debut from an uncredited Richard Attenborough. The use of real navy and army personal as extras, together with lavish studio production and authentic shipboard location footage lends the film a sense of realism unusual for the time. A landmark in the careers of many of the most important names in British film, this moving and occasionally harrowing classic has a vital place in the development of British cinema. On the DVD: The image is presented in a close approximation of the original 1. 37:1 Academy ratio using a print that is good for its age but which would benefit from some restoration, several scenes showing notable damage. The sound is robust mono, though the main title music is very distorted. [+]

Expect to be very hungry (and perhaps amorous) after watching this contemporary classic in the small genre of food movies that includes Babette's Feast and Big Night. Director Alfonso Arau (A Walk in the Clouds), adapting a novel by his former wife, Laura Esquivel, tells the story of a young woman (Lumi Cavazos) who learns to suppress her passions under the eye of a stern mother, but channels them into her cooking. The result is a steady stream of cuisine so delicious as to be an almost erotic experience for those lucky enough to have a bite. The film's quotient of magic realism feels a little stock, but the story line is good and Arau's affinity for the sensuality of food (and of nature) is sublime. You might want to rush off to a good Mexican restaurant afterward, but that's a good thing. -Tom Keogh, Amazon. com.

John Hughes's popular 1985 teen drama finds a diverse group of high school students-a jock (Emilio Estevez), a metalhead (Judd Nelson), a weirdo (Ally Sheedy), a princess (Molly Ringwald), and a nerd (Anthony Michael Hall)-sharing a Saturday in detention at their high school for one minor infraction or another. Over the course of a day, they talk through the social barriers that ordinarily keep them apart, and new alliances are born, though not without a lot of pain first. Hughes (Sixteen Candles), who wrote and directed, is heavy on dialogue but he also thoughtfully refreshes the look of the film every few minutes with different settings and original viewpoints on action. The movie deals with such fundamentals as the human tendency toward bias and hurting the weak, and because the characters are caught somewhere between childhood and adulthood, it's easy to get emotionally involved in hope for their redemption. Preteen and teenage kids love this film, incidentally. -Tom Keogh.