The era of Molly Ringwald's profitable collaboration with writer-producer-director John Hughes (Sixteen Candles, The Breakfast Club) was at its peak with this 1986 film (directed by Howard Deutch but in every sense part of the developing Hughes empire). Ringwald plays a high-school girl on the budget side of the tracks, living with her warm and loving father (Harry Dean Stanton) and usually accompanied by her insecure best friend (Jon Cryer). When a wealthy but well-meaning boy (Andrew McCarthy) asks her out, her perspective is overturned and Cryer's character is threatened. As was the case in the mid-'80s, Hughes (who wrote the script and produced the film) brought his special feel for the cross-currents of adolescent life to this story. In its very commercial way, it is an honest, entertaining piece about growing pains. The attractive supporting cast (many of whom are much better known now) does a terrific job, and Ringwald and Cryer have excellent chemistry. -Tom Keogh.

Almost obliged to be huge, Gangs of New York marks the return to work of three much-admired creatives missing-in-action for the past few years: director Martin Scorsese, Leonardo DiCaprio and Daniel Day-Lewis. Vast, impressive and challenging, it's unlike anything Scorsese has done in look and manner even as it is exactly the material he has obsessively turned over since his first films. A terrific 1846 prologue depicts a battle for supremacy over a district known as the Five Points between the "native-born American" mob led by William "Butcher" Cutting (Day-Lewis) and an Irish immigrant crew headed by "Priest" Vallon (Liam Neeson). The bloody outcome is the death of Priest and the rise to godfather-like prominence of the literally eagle-eyed Butcher (an eagle-marked marble replaces an eye he fished out in homage to his enemy!). Sixteen years later, Priest's son Amsterdam (DiCaprio) shows up intent on revenge, but finds himself distracted as he is drawn into the Butcher's inner circle much as another Scorsese Irishman hooked up with the mob in Goodfellas. The film covers an array of New York historical topics-from the corrupt government of William "Boss" Tweed to the riots that rocked the community when President Lincoln tried to impose military conscription-while the actual plot wobbles slightly as Amsterdam gets involved with a winsome pickpocket (Cameron Diaz) and wavers in his vengeful resolve. DeCaprio and Diaz aren't quite strong enough characters or players to hold things together-as in a few other recent Scorsese films, heroes are let off easily though they seem guilty of as many appalling crimes as the villains-but they have to compete with an award-worthy study in moustachioed menace and corruption from Day-Lewis and an array of the best supporting actors from either side of the Atlantic (Jim Broadbent, John C Reilly, Brendan Gleeson, David Hemmings). -Kim Newman On the DVD: Gangs of New York comes with a decent set of extras on this two-disc set. Most notable is Martin Scorsese's commentary, the first of its kind on DVD. Taking a concise approach with some moderate pauses, Scorsese avoids a scene-specific analysis, but his rich knowledge both of the historical period and of cinema history is phenomenal, as is the account of his 30-year struggle to get the film made. [+]

A gripping, harrowing true-life story told with real skill, Touching The Void is one of the finest documentaries of recent years. It mixes in recreations of real life events with interviews, building up a head of tension that makes it hard to turn your eyes away from. The story itself centres on two British mountain climbers by the name of Joe Simpson and Simon Yates. They head off to the Andes to climb Siula Grande, yet some way into the expedition, Joe Simpson falls and breaks his leg. At this stage he's still attached to the support rope of Simon Yates, who struggles to bear his weight, and faces an impossible choice between continuing to hang on and face certain death, or cutting the rope and sending his friend plummeting down the side of the mountain. Not only is this an extraordinary story, but it's one that Touching The Void tells exceptionally well, with a focus and skill that rightly attracted the interest of award-givers. That those involved in the real-life adventure are telling you the story adds a real weight to the film, and director Kevin Macdonald-he who was behind the Oscar-winning One Day In September-weaves it all together quite brilliantly. An unforgettable piece of cinema for many reasons, Touching The Void is an extraordinary telling of an extraordinary tale, and one that simply demands to be seen. Do make sure you see it. -Simon Brew.

A briskly paced hybrid of Boogie Nights and Goodfellas, Blow chronicles the three-decade rise and fall of George Jung (Johnny Depp), a normal American kid who makes a personal vow against poverty, builds a marijuana empire in the 1960s, multiplies his fortune with the Colombian Medellín cocaine cartel, and blows it all with a series of police busts culminating in one final, long-term jail sentence. "Your dad's a loser," says this absentee father to his estranged but beloved daughter, and he's right: Blow is the story of a nice guy who made wrong choices all his life, almost single-handedly created the American cocaine trade and got exactly what he deserved. Directed by Ted Demme, the film is vibrantly entertaining, painstakingly authentic. and utterly aimless in terms of overall purpose. We can't sympathise with Jung's meteoric rise to wealth and the wild life, and Demme isn't suggesting that we should idolise a drug dealer. So what, exactly, is the point of Blow? Simply, it seems, to present Jung's story as the epitome of the coke-driven glory days, and to suggest, ever so subtly, that Jung isn't such a bad guy, after all. Anyone curious about his lifestyle will find this film amazing, and there's plenty of humour mixed with the constant threat of violence and paranoid anxiety. Demme has also populated the film with a fantastic supporting cast (although Penelopé Cruz grows tiresome as Jung's hedonistic wife), and this is certainly a compelling look at the other side of Traffic. [+]

One of the most acclaimed series on TV during its brief run in the '90s, My So-Called Life pioneered the modern teen drama and made a star out of 15-year-old Claire Danes. Ostensibly centering around the trials and tribulations of high schooler Angela Chase, My So-Called Life actually expanded to include everyone in its protagonist's orbit, from school friends to extended family, and gave its stellar ensemble cast ripe material to work with during its too-short life. Produced by thirtysomething creators Marshall Herskovitz and Edward Zwick, MSCL evoked that yuppie-friendly show with its emphasis on finding extraordinary drama within ordinary situations, but was far more heartfelt and heart-wrenching, echoing the dizzying highs and lows of adolescence. As such, it developed a cult following among young viewers who identified strongly with Angela's high school traumas and followed her every move with rapt attention (after cancellation, the show enjoyed a popular reprise on MTV). Avoiding the sensational, My So-Called Life tackled every teen hot-button issue imaginable (and pioneered the then-controversial topic of teen homosexuality), but with a clear-eyed perspective, never dissolving into soap opera-even when Angela mooned over heartthrob Jordan Catalano (dreamy Jared Leto). Even as it mined adolescent angst, though, My So-Called Life never lost sight of its adults, with Bess Armstrong and Tom Irwin both phenomenal as Angela's parents, whose marriage was one of the most complex seen on TV since. well, thirtysomething. Through it all, Golden Globe winner and Emmy nominee Danes was a neurotic, touching, and funny centre, whether obsessing over a zit or negotiating the rocky terrain of first love. [+]

Science fiction and romance collide in The Fountain, the ambitious third feature from director Darren Aronofsky (Pi, Requiem for a Dream), who laboured for four years to complete this epic-sized love story that stretches across centuries and galaxies. Hugh Jackman and Rachel Weisz (Aronofsky's real-life companion) play lovers in each of the film's three settings-16th century Europe and America (Jackman is a Spanish explorer searching for Incan magic), the present day (Jackman is a doctor attempting to cure his dying wife), and the 26th century (Jackman is a space traveller seeking a gateway to the afterlife)-who struggle mightily to stay united, only to lose each other time and again. Aronofsky may not have chosen the easiest presentation for audiences to absorb his theories on the lasting qualities of life and the transformative powers of death-the final sequence, in particular, with a bald Jackman floating through space in a bubble, harks back uncomfortably to "head movies" of the late '60s-but his leads have considerable chemistry (and look terrific to boot), which goes a long way towards securing viewers' hopes for a happy ending. Critical reception for The Fountain has been nothing short of bloodthirsty, with Cannes audiences booing, but there are elements to enjoy here, even if the premise throws one for a loop. Ellen Burstyn (who earned an Oscar nomination for Requiem for a Dream) delivers a typically solid performance as Jackman's boss in the present day sequence, and special effects (most done without the benefit of CGI) are also impressive given the film's low budget (spurred by a mid-production shutdown after original stars Brad Pitt and Cate Blanchett ankled the picture). And science-fiction fans whose tastes run towards the metaphysical (Asimov, Le Guin) will appreciate the attempt to present the genre in a serious light. - Paul Gaita.

One of the key movies of the 1970s, when exciting, groundbreaking, personal films were still being made in Hollywood, Milos Forman's One Flew over the Cuckoo's Nest emphasised the humanistic story at the heart of Ken Kesey's more hallucinogenic novel. Jack Nicholson was born to play the part of Randle Patrick McMurphy, the rebellious inmate of a psychiatric hospital who fights back against the authorities' cold attitudes of institutional superiority, as personified by Nurse Ratched (Louise Fletcher). It's the classic antiestablishment tale of one man asserting his individuality in the face of a repressive, conformist system-and it works on every level. Forman populates his film with memorably eccentric faces, and gets such freshly detailed and spontaneous work from his ensemble that the picture sometimes feels like a documentary. Unlike a lot of films pitched at the "youth culture" of the 1970s, One Flew over the Cuckoo's Nest really hasn't dated a bit, because the qualities of human nature that Forman captures-playfulness, courage, inspiration, pride, stubbornness-are universal and timeless. The film swept the Academy Awards for 1976, winning in all the major categories (picture, director, actor, actress, screenplay) for the first time since Frank Capra's It Happened One Night in 1931. -Jim Emerson A big Oscar winner in 1975, One Flew Over the Cuckoo's Nest still holds up remarkably well. Ken Kesey's novel, an allegory of repression and rebellion set in a mental hospital in the early 1960s, is cannily adapted by Czech director Milos Forman into a comedy drama with a cool, unassuming, near-documentary look. Jack Nicholson has his most jacknicholsonian role as Randle P McMurphy, a livewire troublemaker who unwisely cons his way out of prison and into a mental institution without realising he has switched from serving a sentence with a release date to being committed until adjudged sane by the same people he is winding up on a daily basis. Louise Fletcher, in a career-defining turn, is Nurse Ratched, the soft-spoken sadist who represents the worst type of matronly authoritarianism and clashes with Randle all down the line. [+]