The flaws are easily forgiven in this beautiful version of Louisa May Alcott's novel. A stirring look at life in New England during the Civil War, Little Women is a triumph for all involved. We follow one family as they split into the world, ending up with the most independent, the outspoken Jo (Winona Ryder). This time around, the dramatics and conclusions fall into place a little too well, instead of finding life's little accidents along the way. Everyone now looks a bit too cute and oh, so nice. As the matron, Marmee, Susan Sarandon kicks the film into a modern tone, creating a movie alive with a great feminine sprit. Kirsten Dunst (Interview with the Vampire) has another showy role. The young ensemble cast cannot be faulted, with Ryder beginning the movie in a role akin to light comedy and crescendos to a triumphant end worthy of an Oscar. -Doug Thomas.

Leave it to the wildly inventive Coen brothers (Joel directs, Ethan produces, they both write) to concoct a fiendishly clever kidnap caper that's simultaneously a comedy of errors, a Midwestern satire, a taut suspense thriller and a violent tale of criminal misfortune. It all begins when a hapless car salesman (played to perfection by William H. Macy) ineptly orchestrates the kidnapping of his own wife. The plan goes horribly awry in the hands of bumbling bad guys Steve Buscemi and Peter Stormare (one of them being described by a local girl as "kinda funny lookin'" and "not circumcised"), and the pregnant sheriff of Brainerd, Minnesota, (played exquisitely by Frances McDormand in an Oscar-winning role) is suddenly faced with a case of multiple murders. Her investigation is laced with offbeat observations about life in the rural hinterland of Minnesota and North Dakota, and Fargo embraces its local yokels with affectionate humour. At times shocking and hilarious, Fargo is utterly unique and distinctly American, bearing the unmistakable stamp of its inspired creators. -Jeff Shannon, Amazon. com Leave it to the wildly inventive Coen brothers to concoct a fiendishly clever kidnap caper with Fargo that's simultaneously a comedy of errors, a Midwestern satire, a taut suspense thriller and a violent tale of criminal misfortune. It all begins when a hapless car salesman (played to perfection by William H. Macy) ineptly orchestrates the kidnapping of his own wife. [+]

After Martin Scorsese went to Hollywood in 1972 to direct the low-budget Boxcar Bertha for B-movie mogul Roger Corman, the young director showed the film to maverick director John Cassavetes and got an instant earful of urgent advice. "It's crap," said Cassavetes in no uncertain terms, "now go out and make something that comes from your heart. " Scorsese took the advice and focused his energy on Mean Streets, a riveting contemporary film about low-life gangsters in New York's Little Italy that critic Pauline Kael would later call "a true original, and a triumph of personal filmmaking. " Starring Robert De Niro and Harvey Keitel in roles that announced their talent to the world, it set the stage for Scorsese's emergence as one of the greatest American filmmakers. Introducing themes and character types that Scorsese would return to in Taxi Driver, GoodFellas, Casino, and other films, the loosely structured story is drawn directly from Scorsese's background in the Italian neighbourhoods of New York, and it seethes with the raw vitality of a filmmaker who has found his creative groove. As the irresponsible and reckless Johnny Boy, De Niro offers striking contrast to Keitel's Charlie, who struggles to reconcile gang life with Catholic guilt. More of an episodic portrait than a plot-driven crime story, Mean Streets remains one of Scorsese's most direct and fascinating films-a masterful calling card for a director whose greatness was clearly apparent from that point forward. -Jeff Shannon.

Martin Shaw's Judge John Deed is proving to be a reliable ratings winner for the BBC. And it's not too tricky to see why. The set-up is simple. Shaw's title character is a senior, experienced Judge who presides over an assortment of cases in his court room. Behind the scenes though, he's a crusader of sorts, battling it out with the establishment, right through to members of the Cabinet. Deed is a man, of course, who's not averse to a few problems of his own in his private life, not least with the opposite sex, and when you mix all of these factors together, it seems like a good, solid, reliable cocktail for an hour of drama. What lifts it above that though is Shaw's superb performance as Judge John Deed. To be fair, he's given some questionably far-fetched material to work with across the duration of this second series (all the episodes of which are collected on this double DVD set), but he nonetheless remains magnetic when he hits his stride, and Judge John Deed as a result is rightly enjoying its fair share of success. You won't always agree with Judge John Deed, and at times, you're likely to find yourself outright perplexed. But never, ever, less than entertained. [+]

Although the premise of infidelity and its devastating consequences on all involved may not be a new one, Unfaithful still manages to emerge as a stylish, involving thriller. Based on an obscure 1970s French offering, director Adrian Lynne's version is pure Hollywood, from its casting of Richard Gere and Diane Lane in the lead roles, to its graceful visual style and even its somewhat unsatisfactory denouement. It's impossible not to watch the film without thinking of Lynne's own Fatal Attraction, although here the gender roles have been reversed to focus on the affair between bored suburban housewife Connie and exotic French book dealer Paul. The obsessive relationship between the two provides the film with its only real frisson. Gere is given very little to work with as the dull cuckolded husband Edward and delivers even less. The film moves rather slowly towards its key plot twist which never really lives up to its promise. On the DVD: Unfaithful may be lacking a little as a film, but this DVD is an impressive package. The film has a rich visual element and the digital picture quality brings out the best in Adrian Lynne's unique eye for detail. The reams of extras include commentaries from director Lynne and the cast, a well put together documentary, interviews, features, deleted scenes and a (superior) alternative ending. Lynne is always good interview value, coming across as a slightly less eccentric Ken Russell, and Lane and Olivier Martinez are both engaging and charismatic. [+]

The Walton' nearly 10-year run grew out of the popular, 1971 made-for-TV movie The Homecoming, which was derived from a Depression-era, rustic setting ("Walton's Mountain"), and characters based on Earl Hamner Jr. 's autobiographical novel Spencer's Mountain-itself the source for a very nice 1963 feature film starring Henry Fonda and Maureen O'Hara. That's a lot of entertainment sprouting from Hamner's prose. But something about his seminal story of family values, rugged independence, and big dreams amidst a hardscrabble existence captured the hearts of American audiences, many of whom personally recalled severe economic adversity in the 1930s. The Waltons: The Complete First Season collects those initial episodes from the series building on the strengths of the Homecoming pilot, which introduced the extended Walton clan led by a strong-willed mill owner, John (Andrew Duggan), and his equally resolute wife, Olivia (Patricia Neal). The Waltons recast those key roles (as well as a few others) with Ralph Waite and Michael Learned (yup, a female), but Richard Thomas carried over as oldest child John-Boy Walton, an aspiring writer whose cusp-of-manhood view informs the series. Will Geer (Seconds) replaced Edgar Bergen as Grandpa Walton, Ellen Corby remained as Grandma, and John and Olivia's large brood (seven kids in all) were filled out by largely unknown, young actors. The episodes, still delightful and touching, strong on production values and unusually tight and polished for primetime drama, tended to focus on creator Hamner's pet themes of self-sacrifice and heroic effort when the going got tough. Year 1 highlights include "The Carnival", in which the impoverished Waltons, who can't pay for tickets to see a circus performance, end up sheltering stranded carney folk. "The Typewriter" is a classic about John-Boy "borrowing" a museum's antique typewriter, only to have his sister Mary Ellen (Judy Norton) sell it as junk. [+]

The second series of The Sopranos, David Chase's ultra-cool and ultra-modern take on New Jersey gangster life, matches the brilliance of the first, although it's marginally less violent, with more emphasis given to the stories and obsessions of supporting characters. Sadly, the programme-makers were forced to throttle back on the appalling struggle between gang boss Tony Soprano and his Gorgon-like Mother Livia, the very stuff of Greek theatre, following actress Nancy Marchand's unsuccessful battle against cancer. Taking up her slack, however, is Tony's big sister Janice, a New Age victim and arrant schemer and sponger, who takes up with the twitchy, Scarface-wannabe Richie Aprile, brother of former boss Jackie, out of prison and a minor pain in Tony's ass. Other running sub-plots include the hapless efforts by Chris (Michael Imperioli) to sell his real-life Mafia story to Hollywood, the return and treachery of Big Pussy and Tony's wife Carmela's ruthlessness in placing daughter Meadow in the right college. Even with the action so dispersed, however, James Gandofini is still toweringly dominant as Tony. The genius of his performance, and of the programme-makers, is that, despite Tony being a whoring, unscrupulous, sexist boor, a crime boss and a murderer, we somehow end up feeling and rooting for him, because he's also a family man with a bratty brood to feed, who's getting his balls busted on all sides, to say nothing of keeping the government off his back. He's the kind of crime boss we'd like to feel we would be. Tony's decent Italian-American therapist Dr Melfi's (Loraine Bracco) perverse attraction with her gangster-patient reflects our own and, in her case, causes her to lose her first series cool and turn to drink this time around. Effortlessly multi-dimensional, funny and frightening, and devoid of the sentimentality that afflicts even great American TV like The West Wing, The Sopranos is boss of bosses in its televisual era. -David Stubbs.

A heartfelt epic from Irish director Neal Jordan (The Crying Game, Interview with the Vampire), Michael Collins is the biography of the charismatic and controversial Irish rebel leader who led the fight for independence from Britain. Among the most beautiful and atmospherically photographed movies of the 1990s, Michael Collins is also a rich and intelligent study of the nature of politics and leadership: the IRA spokesman, full of fiery convictions, eventually gives way to the more mature negotiator who strives to reach a compromise solution and is politically undone in the process. Liam Neeson gives a grand and towering performance as Collins, but for all the character's legendary, heroic, or otherwise larger-than-life attributes, Jordan and Neeson also keep him human. This is sweeping historical filmmaking of the kind we haven't seen since the heyday of David Lean, but with Jordan's characteristic touches of complexity and ambivalence. -Jim Emerson.

Eight seasons in, and the goings on within County General Hospital's emergency room are as gripping as ever. And with E. R. season eight, it's all as tight, gripping and downright clever as you've come to expect. By season eight of E. R. , the cast was being led by Noah Wyle as Dr Carter, Anthony Edwards as Dr Greene, Maura Tierney as Nurse Lockhart and Alex Kingston as Dr Corday. Yet while some of the faces have changed over the years, the core of the show-a fast moving medical drama packed with proper, strong characters-is very firmly intact. This boxset features all 22 episodes of E. R. [+]

All films require a certain suspension of disbelief, Fight Club perhaps more than others; but if you're willing to let yourself get caught up in the anarchy, this film, based on the novel by Chuck Palahniuk, is a modern-day morality play warning of the decay of society. Edward Norton is the unnamed protagonist, a man going through life on cruise control, feeling nothing. To fill his hours, he begins attending support groups and 12-step meetings. True, he isn't actually afflicted with the problems, but he finds solace in the groups. This is destroyed, however, when he meets Marla (Helena Bonham Carter), also faking her way through groups. Spiralling back into insomnia, Norton finds his life is changed once again, by a chance encounter with Tyler Durden (Brad Pitt), whose forthright style and no-nonsense way of taking what he wants appeal to our narrator. Tyler and the protagonist find a new way to feel release: they fight. They fight each other, and then as others are attracted to their ways, they fight the men who come to join their newly formed Fight Club. Marla begins a destructive affair with Tyler, and things fly out of control, as Fight Club is transformed into a nationwide fascist group. The depiction of violence in Fight Club is unflinching, but director David Fincher's film is captivating and beautifully shot, with camerawork and effects that are almost as startling as the script. [+]