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.

Zach Braff (from the TV show Scrubs) stars in his writing/directing debut, Garden State-normally a doomed act of hubris, but Braff pulls it off with unassuming charm. An emotionally numb actor in L. A. , Andrew (Braff) comes back to New Jersey after nine years away for his mother's funeral. Andrew avoids his bitter father (Ian Holm) and joins old friends (including the superb Peter Sarsgaard) in a round of parties. Along the way he meets a girl (Natalie Portman) with demons of her own; bit by bit the two offer each other a little healing. Plotwise, Garden State is familiar stuff, a cross between The Graduate and a Meg Ryan movie, but Braff has an eye for goofy but resonant visual images, an ear for lively dialogue, and a great cast. The result is surprisingly fresh and funny. -Bret Fetzer, Amazon. com.

After a string of mediocre movies, director Tim Burton regains his footing as he shifts from macabre fairy tales to southern tall tales. Big Fish twines in and out of the oversized stories of Edward Bloom, played as a young man by Ewan McGregor and as a dying father by Albert Finney. Edward's son Will (Billy Crudup) sits by his father's bedside but has little patience with the old man's fables, because he feels these stories have kept him from knowing who his father really is. Burton dives into Bloom's imagination with zest, sending the determined young man into haunted woods, an idealised southern town, a travelling circus and much more. The result is sweet but-thanks to the director's dark and clever sensibility-never saccharine. The film also features Jessica Lange, Alison Lohman, Helena Bonham Carter, Danny DeVito and Steve Buscemi. -Bret Fetzer.

Only Joel and Ethan Coen, masters of quirky and ultra-stylish genre subversion, would dare nick the plotline of Homer's Odyssey for O Brother, Where Art Thou?, their comic picaresque saga about three cons on the run in 1930s Mississippi. Our wandering hero in this case is one Ulysses Everett McGill, a slick-tongued wise guy with a thing for hair pomade (George Clooney, blithely sending up his own dapper image) who talks his chain-gang buddies (Coen-movie regular John Turturro and newcomer Tim Blake Nelson) to light out after some buried loot he claims to know of. En route they come up against a prophetic blind man on a railroad truck, a burly one-eyed baddie (the ever-magnificent John Goodman), a trio of sexy singing ladies, a blues guitarist who's sold his soul to the devil, a brace of crooked politicos on the stump, a manic-depressive bank robber, and-well, you get the idea. Into this, their most relaxed film yet, the Coens have tossed a beguiling ragbag of inconsequential situations, a wealth of looping, left-field dialogue and a whole stash of gags both verbal and visual. O Brother (the title's lifted from Preston Sturges' classic 1941 comedy Sullivan's Travels) is furthermore graced with glowing, burnished photography from Roger Deakins and a masterly soundtrack from T-Bone Burnett that pays loving homage to American 30s folk-styles: blues, gospel, bluegrass, jazz and more. And just to prove that the brothers haven't lost their knack for bad-taste humour, we get a Ku Klux Klan rally choreographed like something between a Nuremberg rally and a Busby Berkeley musical. -Philip KempOn the DVD: This two-disc set duplicates the original single-disc release of the film which included a handful of cast and crew interviews, and adds an additional disc with more interviews, two brief behind-the-scenes featurettes about the production design and the post-production digital colouring of the film, a couple of storyboard-to-scene comparisons and a music video of "Man of Constant Sorrow". There's also a 16-minute documentary to promote the companion Down from the Mountain concert. Frankly there's not a lot here to justify spreading it across two discs: a more pleasing not to say generous offering would have been to cram all these extras onto Disc 1 and give us Down from the Mountain as the second disc. -Mark Walker.

As with Grease (1978) and Footloose (1984) before it, Dirty Dancing was a cultural phenomenon that now plays more like camp. That very campiness, though, is part of its biggest charm. And if the dancing in the movie doesn't seem particularly "dirty" by today's standards-or 1987's-it does take place in an era (the early '60s) when it would have. Frances "Baby" Houseman (Jennifer Grey, daughter of ageless hoofer Joel Grey), vacationing in the Catskills with her family one summer, falls under the sway (as it were) of dance instructor Johnny Castle (Patrick Swayze). Baby is a pampered pup, but Johnny is a man of the world. Baby's father Jake can't see the basic decency in greaser Johnny that she can. It should come as no surprise to find that Baby, who can be as immature as her name, learns more about love and life-and dancing-from free-spirited Johnny than traditionalist Jake. Dirty Dancing spawned two successful soundtracks, a short-lived TV series and a stage musical. It may be predictable, but Grey and Swayze have chemistry, charisma and all the right moves. It's a sometimes silly movie with occasionally mind-boggling dialogue-"No one puts Baby in a corner!"-that nonetheless carries an underlying message about tolerance and is filled with the kind of exuberant spirit that is hard for even the most cynical to resist. [+]

Despite its flaws, The Good German is a welcome gift for every film lover who laments that "they don't make 'em like they used to. " Steven Soderbergh's affectionate, knowing tribute to the black-and-white melodramas of Hollywood's golden age may lack the emotional depth and romantic passion of Michael Curtiz's Casablanca-the 1946 classic it intentionally emulates-but as Soderbergh approximates Curtiz's studio style, he delivers a shimmering, shadowy reminder that movies can be enjoyed for the sheer pleasure of their craftsmanship. Once again serving as his own cinematographer (credited as "Peter Andrews"), Soderbergh went to great lengths to technically and aesthetically re-create the look and feel of a Curtiz production, and Joseph Kanon's source novel (adapted by Quiz Show screenwriter Paul Attanasio) provides a twisting plot set around the historical Potsdam conference in post-World War II Germany. An American military journalist, Capt. Jake Geismer (George Clooney) is in rubble-strewn Berlin to cover the event, and is quickly drawn into a murder plot involving his appointed driver (Tobey Maguire), an old flame-turned-wartime prostitute (Cate Blanchett) and her missing husband, a scientist who possesses pivotal secrets coveted by Americans and Russians in a pre-Cold War bid for power. Violence, sexual content, and salty dialogue make it clear that this drama is a brashly contemporary homage to films of a bygone era, and not a slavish attempt to copy the past. This yields mixed results in terms of the film's overall appeal; it's gorgeous to look at, but the plot and performances exist in a vacuum, and the entire film feels oddly disengaged from any sense of genuine human emotion. It's probably fair to say that Soderbergh had more fun making the film than most people will have watching it. And yet, as Clooney's character is repeatedly beaten and deceived on his path to cynical enlightenment, The Good German has many qualities that make it recommendable, not the least being the pleasure of following a talented director as he indulges his penchant for bold experimentation. -Jeff Shannon.

Shameless, the BAFTA award-winning and brilliantly funny drama series from writer Paul Abbott, follows the roller coaster lives and loves of the highly un-orthodox yet extremely tightly-knit Gallagher family. Head of the family, in name only, is Dad Frank - a feckless, charmless, self-pitying, unemployed bully - a model father. Since mum went AWOL, dad hit the bottle leaving his six remarkably well-balanced children Fiona, Lip, Ian, Debbie, Carl, and Liam to fend for themselves. But the Gallaghers need not worry anymore, now they've teamed up with the local gangsters the Maguires, who continue to explode the myth of a conventional family. The Complete Series 1-5 Box Set is a sixteen disc set consisting of all five series, plus the feature length Christmas and New Year Specials. Extras - Behind the scenes with David Threlfall - Audio commentaries on Episodes 9 & 11 - Building the Shameless estate - Outtakes - Deleted Scenes.

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. [+]

Long before reality-show staples Big Brother and The Real World tapped into the drama and high-hilarity of cohabitation, the long-running "Golden Girls" paved the way into that prime-time show format. The only difference is that Golden Girls was pure fiction. Season Four stays true to the format that earned the series three Emmys and a Golden Globe Award: three widowed/divorced friends in their '50s and one octogenarian mother and grandmother all share a home and their retirement in Miami, Florida. In a season that includes a UFO sighting and government cover up; the implications of drug addiction; a late-in-life wedding; the ridiculous '80s aerobics craze-spandex, headbands, leg warmers and all; a nightmarish nursing home; lesbianism; an intergenerational love triangle; and a trip to Rose's mythical St. Olaf; the episodes in Season Four are more entertaining and often downright risqué. There are some notable cameos as well-Bob Hope steals the show in "You Gotta Have Hope" as the featured talent for Dorothy's hospital charity show; Richard Mulligan of Empty Nest bridges the spin-off link as the girls' newly widowed neighbor and object of Blanche's advances; Jay Thomas plays an overactive director in "High Anxiety," where the girls' kitchen is used as a TV commercial set; and blink and you'll miss a young Quentin Tarantino as an Elvis impersonator in "Sophia's Wedding". Overall, Season Four is zestier and much less earnest than previous seasons, which is exactly what works about the series: the bawdier the grandmothers, the funnier the show. -Gabi Knight.

Michael Caine and the knockout Julie Walters deliver a pair of wonderful performances in this endearingly bittersweet tale of a boozily burnt-out professor's tutoring of (and subsequent tutoring by) a free-spirited hairdresser determined to improve her lot in life. The basic plot won't exactly surprise anyone who's ever seen a movie before but the ace cast (particularly Caine, who's rarely this subtle) continually finds new directions to spin off from the rather rote path. Although the end result is perhaps just a little too convinced of its own adorability to attain classic status, this remains a rarity in the genre-a feel-good film that earns its emotions honestly. A nice change of pace for director Lewis Gilbert, who is perhaps better known for his contributions to the James Bond series. -Andrew Wright.

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. [+]

Charmed: The Complete First Season recaptures a period when television's WB network was particularly keen on series about the supernatural and specially powered characters. The original home of Buffy the Vampire Slayer and future launch pad for Angel and Smallville, the WB debuted Charmed in 1998 with many of the same intriguing ironies that made those other shows click. Specifically, the greater a character's powers, the more vulnerable he or she becomes; the more superhuman, the more painfully obvious one's lonely, fragile humanity. The Halliwells, a trio of witch heroines and siblings at the center of Charmed, is a case in point. Phoebe (Alyssa Milano) returns to her San Francisco family home after losing her job, and moves in with her older sisters Prue (Shannen Doherty) and Piper (Holly Marie Combs). On her first night back, Phoebe finds the Book of Shadows in the attic and recites a spell giving all three women unique powers they were always meant to have: Prue suddenly has the gift of telekinesis, Piper can make time stand still, and Phoebe can see into the future. All well and good, but along with those extraordinary abilities is a new awareness of dark forces in the world from which mortals need protection. In some cases, those forces have been plotting a long time to steal the Halliwell's magical legacy once they awakened to it-and now they will never let up. Evil warlocks, demons, ancient curses, Grimlocks, and Wendigos (the last two are best left explained by their respective episodes), however, are only half the battle on this sexy dramedy, in which more ordinary matters of emotional and real-world survival also preoccupy the Halliwells. An important ally, Inspector Andy Trudeau (Ted King), is Prue's ex-lover, a delicate detail that mixes pain with duty as the couple rekindles their troubled relationship while solving otherworldly crimes. [+]