Blarney and bliss, mixed in equal proportions. John Wayne plays an American boxer who returns to the Emerald Isle, his native land. What he finds there is a fiery prospective spouse (Maureen O'Hara) and a country greener than any Ireland seen before or since-it's no surprise The Quiet Man won an Oscar for cinematography. It also won an Oscar for John Ford's direction, his fourth such award. The film was a deeply personal project for Ford (whose birth name was Sean Aloysius O'Fearna), and he lavished all of his affection for the Irish landscape and Irish people on this film. He also stages perhaps the greatest donnybrook in the history of movies, an epic fistfight between Wayne and the truculent Victor McLaglen-that's Ford's brother, Francis, as the elderly man on his deathbed who miraculously revives when he hears word of the dustup. Barry Fitzgerald, the original Irish elf, gets the movie's biggest laugh when he walks into the newlyweds' bedroom the morning after their wedding, and spots a broken bed. The look on his face says everything. The Quiet Man isn't the real Ireland, but as a delicious never-never land of Ford's imagination, it will do very nicely. -Robert Horton.

Roman Polanski's adaptation of the Shakespearean tragedy Macbeth remains one of the most infamous for a number of reasons: the copious amounts of bloody gore, its expert use of location settings (filmed in North Wales) and Lady Macbeth's nude sleepwalking scene. Despite its notoriety, though, this does remain one of the more compelling film adaptations of the Scottish tragedy, if one of the more pessimistic takes on the story of Macbeth and his overreaching ambition. If you think the play is normally a bit of a downer, you haven't seen Polanski's bleak version of it, made in reaction to the murder of his wife, Sharon Tate, by the Manson "family". Jon Finch (Hitchcock's Frenzy) is a forceful Macbeth, bringing out the Scot's warrior instincts, and Francesca Annis is a memorable Lady Macbeth but the main thrust of the film belongs to Polanski's and noted British playwright and critic Kenneth Tynan's take on the play: extremely violent, nihilistic and visceral; this is down-in-the-dirt, no-holds-barred Shakespeare, not fussy costume drama. Pay close attention to the end, a silent coda that puts a chilling twist on all the action that has come beforehand and foreshadows more tragedy to come. -Mark Englehart Roman Polanski's adaptation of Macbeth remains one of the most infamous for a number of reasons: the copious amounts of bloody gore, its expert use of location settings (filmed in North Wales), and Lady Macbeth's nude sleepwalking scene. Despite its notoriety, though, this does remain one of the more compelling film adaptations of the Scottish tragedy, if one of the more pessimistic takes on the story of Macbeth and his overreaching ambition. If you think the play is normally a bit of a downer, you haven't seen Polanski's bleak version of it, made in reaction to the murder of his wife, Sharon Tate, by the Manson "family". Jon Finch (Hitchcock's Frenzy) is a forceful Macbeth, bringing out the Scot's warrior instincts, and Francesca Annis is a memorable Lady Macbeth, but the main thrust of the film belongs to Polanski's and noted British playwright and critic Kenneth Tynan's take on the play: extremely violent, nihilistic, and visceral; this is down-in-th!e-dirt, no-holds-barred Shakespeare, not fussy costume drama. Pay close attention to the end, a silent coda that puts a chilling twist on all the action that has come beforehand and foreshadows more tragedy to come. [+]

In an ocean of police shows competing for screen space, New Tricks has one heck of a trump card. For while its plotlines aren't particularly radical, and while the pace is perhaps gentler than you may expect, its cast greedily devour the material and lift a good show into something really quite special. The premise behind New Tricks is that three retired detectives are called in to work as a mismatched team of sorts to solve crimes. So far, so routine. But those three detectives are played by Dennis Waterman, James Bolam and Alun Armstrong, a trio who can not only act, but are also capable of maximising the comedy potential on offer. Then, there's the juicy inclusion of Amanda Redman, who brought the three of them back together in the first place. Combined, these four are clearly having a terrific time with the show, and it's fun we're all invited to share in. The third season of New Tricks, presented in this DVD set, features eight varied episodes and the obligatory end-of-season cliffhanger, along with some welcome guest stars. The stories cover ice cream, witchcraft, dogs and school, and it's to the show's credit that it does balance the serious moments with its plentiful humour exceptionally well. In short, New Tricks is a real treat, putting core values ahead of gimmicks and letting us all enjoy the rewards of its approach. [+]

In the tradition of any number of stories where a boy from the wrong side of the tracks falls for a posh girl, Step Up follows rebellious Tyler as he's forced to work with ballet dancer Nora to create a performance that could change both of their lives forever. Naturally, as young people thrown into these sorts of situations are wont to do, they fall madly and passionately in love, overcoming all their differences. Aimed squarely at the teenage girl market, it's not a particularly new or interesting idea, and plays out in a fairly pedestrian way. But Step Up is calculated to appeal to a certain demographic-as evidenced by the soundtrack, which features the likes of Mario, Ciara, Kelis, Chris Brown, and Sean Paul-and in that respect, it succeeds masterfully. The fact that the film's promoters chose to set up a MySpace profile instead of an official website, and that that MySpace profile has thousands of friends all posting adoring comments by teens who've watched the movie dozens of times, confirms this. Though Step Up may not be a great work of art, as a modern updating of a classic story, with hot young things in the lead roles and plenty of exciting dancing scenes, it thoroughly achieves what it set out to do. -Sarah Dobbs.

A sad, melancholy ache pervades Brokeback Mountain, Ang Lee's haunting, moving film that, like his other movies, explores societal constraints and the passions that lurk underneath. This time, however, instead of taking on ancient China, 19th-century England, or '70s suburbia, Lee uses the tableau of the American West in the early '60s to show how two lovers are bound by their expected roles, how they rebel against them, and the repercussions for each of doing so-but the romance here is between two men. Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) are two itinerant ranchers looking for work in Wyoming when they meet and embark on a summer sheepherding job in the shadow of titular Brokeback Mountain. The taciturn Ennis, uncommunicative in the extreme, finds himself opening up around the gregarious Jack, and the two form a bond that surprisingly catches fire one cold night out in the wilderness. Separating at the end of the summer, each goes on to marry and have children, but a reunion years later proves that, if anything, their passion for each other has grown significantly. And while Jack harbours dreams of a life together, the tight-lipped Ennis is unable to bring himself to even consider something so revolutionary. Its open, unforced depiction of love between two men made Brokeback an instant cultural touchstone, for both good and bad, as it was tagged derisively as the "gay cowboy movie," but also heralded as a breakthrough for mainstream cinema. Amidst all the hoopla of various agendas, though, was a quiet, heartbreaking love story that was both of its time and universal-it was the quintessential tale of star-crossed lovers, but grounded in an ever-changing America that promised both hope and despair. Adapted by Larry McMurtry and Diana Ossana from Annie Proulx's short story, the movie echoes the sparse bleakness of McMurtry's The Last Picture Show with its fading of the once-glorious West; but with Lee at the helm, it also resembles The Ice Storm, as it showed the ripple effects of a singular event over a number of people. As always, Lee's work with actors is unparalleled, as he elicits graceful, nuanced performances from Michelle Williams and Anne Hathaway as the wives affected overtly and subliminally by their husbands' affair, and Gyllenhaal brings surprising dimensions to a character that could have easily just been a puppy dog of a boy. [+]

What the Bleep Do We Know? is a lecture on mysticism and science mixed into a sort-of narrative. Marlee Matlin stars in the dramatic thread, about a sourpuss photographer who begins to question her perceptions. Interviews with quantum physics experts and New Age authors are cut into this story, offering a vaguely convincing (and certainly mind-provoking) theory about. well, actually, it sounds a lot like the Power of Positive Thinking, when you get down to it. Talking heads (not identified until film's end) include JZ Knight, who appears in the movie channeling Ramtha, the ancient sage she claims communicates through her (other speakers are also associated with Knight's organization). What she says actually makes pretty good common sense-Ramtha's wiggier notions are not included-and would be easy to accept were it not being credited to a 35,000-year-old mystic from Atlantis. -Robert Horton, Amazon. com.

An unconvincing exercise in moral complexity, 21 is based on Ben Mezrich's book Bringing Down the House: The Inside Story of Six M. I. T. Students Who Took Vegas for Millions. Jim Sturgess (Across the Universe) plays brilliant blue collar scholar Ben Campbell, whose doubts that he'll win a scholarship to Harvard Medical School compel him to join a secret, M. I. T. gang of math whiz kids. Under the silky but chilling command of a math professor (Kevin Spacey), Jim and the others master card counting -the statistical analysis of cards dealt in blackjack games. The team lives a humdrum existence during the week, but on weekends in Sin City the students are rolling in cash, frequenting exclusive clubs and feeling on top of the world. [+]

In the sensible yet elegant hands of actresses Helen Mirren and Julie Walters, Calendar Girls walks a fine line between sappiness and snickering and ends up both wonderfully funny and gently touching. When her best friend Annie (Walters) loses her husband, Chris (Mirren) cooks up a scheme to commemorate him: they and their friends-all fiftysomething women-will make a nude calendar to raise money for the hospital where he died. The calendar becomes hugely popular, but the success may drive a wedge between the two women's friendship. Based on a true story, Calendar Girls carefully balances the stories of several women as it follows the calendar's media explosion, becoming a surprisingly moving fable of loss, determination and the perils of fame. And let's face it-Helen Mirren is one of the wittiest and sexiest women alive, clothes on or not. -Bret Fetzer.

"A film that will never be equalled for its spectacle and dramatic power" says the stirring trailer on this otherwise sparsely featured DVD. Taking the story of the Napoleonic Wars to Bonaparte's final defeat, Waterloo is an unofficial continuation to director Sergei Bondarchuk's own 70mm super-epic War and Peace (1968). The climactic battle of Waterloo is shown in the second half of the film and re-enacted with such stunning realism by a cast of around 20,000 extras that it looks like documentary footage from history itself (some 20 years later, Gettysburg, 1993, did the same for the American Civil War). Those who hailed the groundbreaking impact of Saving Private Ryan should see Bondarchuk's films, as for sheer scale and intensity-if not bloodiness-they make Spielberg's hit look like an amateur video. Without ever attempting a French accent, Rod Steiger makes a commanding Napoleon, Christopher Plummer a worthy adversary as Wellington, while the supporting cast led by Orson Welles, Jack Hawkins and Virginia McKenna is excellent. The DVD transfer is richly detailed and clear, though the print itself could have done with just a little restoration. Though dated, Abel Glance's Napoleon (1928) remains definitive for many, perhaps explaining why Stanley Kubrick eventually abandoned his planned Napoleon film, instead making the 18th Century period epic Barry Lyndon (1974). -Gary S. Dalkin.

From its first gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerising confidence and acuity epitomised by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism-like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave. It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short-list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbour (Wes Bentley) transforms both Lester and Jane with his canny influence. Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylised pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he has also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. [+]