One of the most influential TV shows of the 1990s, the first series of Twin Peaks has lost none of its quirky and queasy power to get under your skin and haunt your dreams. Without its groundbreaking mix of convoluted plotting, complex character interactions, surreal fantasy sequences and a continuous story arc, we would probably not have had The X-Files, The Sopranos, Six Feet Under or even The League of Gentlemen. So brew up a pot of some "damn fine coffee", dig into some cherry pie, and lose yourself in David Lynch and Mark Frost's murder mystery-soap opera, which unfolds, in one character's words, "like a beautiful dream and terrible nightmare all at once". Twin Peaks was a pop culture phenomenon, for this first series at least, until the increasingly bizarre twists and maddening teases so confounded audiences that they lost interest in just who killed Laura Palmer (Sheryl Lee). This series was also a career peak for most of its eclectic ensemble cast, including Kyle MacLachlan as straight-arrow FBI Special Agent Dale Cooper, Michael Ontkean as local Sheriff Harry S Truman, Sherilyn Fenn as bad girl Audrey Horne, Peggy Lipton as waitress Norma Jennings and Catherine Coulson as the Log Lady. On the DVD: Twin Peak, Series 1 comes as a four-disc set that contains the original pilot plus the first season's seven episodes (inexplicably, the pilot episode was omitted on the American Region 1 DVD release, but is reinstated here). Special features include episode introductions by the Log Lady, commentaries by assorted episode directors (but not Lynch), and features from the archives of the fanzine Wrapped in Plastic. The 4:3 picture has been digitally remastered, and is now accompanied by a Dolby 5. 1 soundtrack. -Donald Liebenson.

Leonardo DiCaprio sought to distance himself from the cloying wholesomeness of his character in Titanic, and his role in The Beach is in many ways a polar opposite. As Richard, a young American seeking to "suck in the experience" of freestyle travel in Thailand, he is a chronic liar, a pot-smoking hedonist, an amoral lover and ultimately an unstable snake in a doomed Garden of Eden. This crazy descent might be expected from the filmmakers of Trainspotting, but The Beach is a movie without a rudder, venturing into fascinating territory, promising a stimulating adventure and then careening out of control. After receiving a not-so-secret map to a secluded island from a stoned-out loony (Robert Carlyle, full of dark portent and spittle), Richard sets out to find the hidden paradise with a young French couple (Virginie Ledoyen, Guillaume Canet). What they find is a tropical commune existing in delicate balance with Thai pot farmers, and before long-as always-there is trouble in paradise. There is trouble in the movie, too, as DiCaprio is reduced to histrionics when the plot turns into a muddled mix of Lord of the Flies and Apocalypse Now, with shark attacks tossed in for shallow tension. Director Danny Boyle attempts perfunctory romance and a few audacious moves (notably DiCaprio's vision of life as a violent video game), but what's the point? Tilda Swinton registers strongly as the commune's charismatic leader, but her character-and the entire film-remains largely undeveloped, and pretty scenery is no guarantee of a laudable film. -Jeff Shannon.

A gut-wrenching portrait of adolescence, Thirteen is made all the more powerful because it was cowritten by a teenage girl, Nikki Reed, who also costars in the movie. Tracy (Evan Rachel Wood), a serious good student, finds herself needing to express her anger and resentment at her fractured family life. To rebel, she pursues a friendship with the reckless, alluring Evie (Reed), who seems to have all the cocksure freedom that Tracy desires. What follows is both harrowing and compelling: Tracy becomes enmeshed in a relationship with Evie that empowers Tracy and drags her deeper into the misery she wants to escape-and terrifies her mother (Holly Hunter), who struggles desperately to hold on to her daughter's love. Thirteen makes every step on this path utterly convincing, due to the vivid script, energised direction and astonishingly alive performances from Hunter, Reed and especially Wood. It's jolting, sad and mesmerising. -Bret Fetzer.

Patricia Rozema is a Canadian director with the nerve to helm smart, big budget movies, as she proves again in Mansfield Park. She had her first hit with the quirky I've Heard the Mermaids Singing (1987) in which the heroine, a mouse among art gallery sharks, eventually comes into her own, surpassing the mentor who's risen on her back. Similarly, in Mansfield Park, adapted from Jane Austen's strongly autobiographical novel, penniless city mouse Fanny Price (Frances O'Connor) comes to live in a handsome country manor with the Bertrams, her heartless, class-conscious relations. After many cruel setbacks, Fanny manages, by dint of writing talent and moral integrity, to win the day and the love of her life Edmund (Trainspotting's Jonny Lee Miller). Unlike filmmakers who dress up Austen's money-driven world in sweetness and light, Rozema rubs our noses in the fact that the Bertrams' wealth flows from the blood and sweat of faraway slaves. The adaptation never euphemises the down-and-dirty slum life which has swallowed up Fanny's mother and threatens Fanny if she refuses to marry the handsome but hollow fortune hunter (Alessandro Nivola) chosen for her by her benefactors. Playwright Harold Pinter is compelling as Mansfield Park's patriarch, Sir Thomas Bertram, capable of kindness but stone-cold when his aristocratic will is crossed. Embeth Davidtz (playing Mary, the amoral sibling of Fanny's suitor, with wonderfully seductive verve) and O'Connor almost resemble each other-and they are sisters of a sort, each vying, according to her talents, in a stock market where women must parlay sex to stay alive. In this entertaining ride in the socioeconomic fast lane circa 1806, Jane Austen comes across as a full-blooded proto-feminist with savvy charm. -Kathleen Murphy, Amazon. [+]

As light and frothy as the Vivienne Westwood wedding gown that's an unofficial fifth star, the film version of Sex and the City is both captivatingly stylish and sweetly sentimental. Viewers who loved hanging with Carrie Bradshaw and her three pals during the series' TV run will feel as though no time has passed. Except that it has: Carrie and Big are poised to make a Big Commitment; Miranda and Steve are facing the breakup of their wonderful family; Charlotte and Harry have added to their brood; and Samantha (are we sitting down?) has been devoted to hunky Smith for five full years. Still, in all that time, the women's style, conviviality, and appetite for bons mots have only grown. When practical attorney Miranda learns that Carrie is considering moving in with Big (in possibly the coolest apartment in Manhattan), she can't help but frown in that but-you-might-lose-everything way. Carrie's retort: "For once, can't you feel what I want you to feel-jealous?!" The cast is spot-on, as always. Sarah Jessica Parker is effortless as the angst-ridden yet practical, stylish yet vulnerable Carrie. Kim Cattrall is deliciously decadent as Samantha, but she's wiser now and knows herself and her needs for a real relationship. Kristin Davis, as Charlotte, has quietly become the most gorgeous among the beauties, her sleek presence both winsome and sophisticated. And Cynthia Nixon (Miranda) shows nuance as a woman torn between betrayal and grudging hope. [+]

The second half of CSI's first year takes Grissom and his untiring team down some darker paths than before. Nick finally gives in to his urges and sleeps with the hooker who has a crush on him in "Boom"-with predictably disastrous consequences. Sarah is badly affected by the rape and attempted murder of an unknown woman in "Too Tough to Die"; and even Grissom is shaken when dealing with the sudden death of an infant in "Gentle, Gentle". The final episode of the year, "Strip Strangler", is a real shocker, as the team track a brutal serial killer. Elsewhere, the morbid business of investigating corpses and crime scenes is enlivened with flashes of welcome humour: when a horse is found dead with packets of uncut diamonds concealed in its uterus, Grissom deadpans "This horse is a mule". Throughout, the show remains focused on its scientific remit, only revealing enough of the characters' private lives to provide added piquancy to each investigation: Sarah's complete lack of a life outside her work; Warrick's old gambling habit; Catherine's attachment to her daughter and troubles with ex-husband Eddie; Nick's over-eagerness to please. Grissom, meanwhile, like the Dalai Lama, is the model of inscrutable wisdom. The show itself, like a millennial antidote to a decade of X-Files, is relentlessly empirical: everything that initially seems mysterious-from spontaneous human combustion to an apparent case of vampirism-is always explicable and explained by the team's scientific dedication. On the DVD: CSI, Series 1 Part 2 contains 11 episodes on three discs. Extra features consist of a brief promo featurette, production notes and a series of on-set interviews with the cast. [+]

Gene Hackman and Willem Dafoe star in Mississippi Burning, a well-intentioned and largely successful civil-rights-era thriller. Using the real-life 1964 disappearance of three civil rights workers as its inspiration, the film tells the story of two FBI men (Hackman and Dafoe, entertainingly called "Hoover Boys" by the locals) who come in to try to solve the crime. Hackman is a former small-town Mississippi sheriff himself, while Dafoe is a by-the-numbers young hotshot. (Yes, there is some tension between the two. ) The movie has an interesting fatalism, as all the FBI's best efforts simply incite more and more violence-the film's message, perhaps inadvertently, seems to be that vigilantism is the only real way to get things done. The brilliant Frances McDormand, here early in her career, is not given enough to do but still does it well enough to have racked up an Oscar nomination for Best Supporting Actress. (Hackman also received a nomination for Best Actor, and the film won an Academy Award for Cinematography). Mississippi Burning is ultimately unsatisfying-it is, after all, the story of white men coming in to rescue poor blacks-but it is beautifully shot and very watchable, featuring a terrific cast playing at the top of their games. -Ali Davis, Amazon. com.

The third series of the con drama Hustle finds the team in confident form. The premise remains pretty much unaltered, as a team of con artists plan and execute an increasingly elaborate and well-plotted collection of jobs. But the fun as always is in the execution, with a lively cast making the show hard to resist. Season three features six episodes, with some real highlights to be found. As always, the series finale is just brilliant, leaving you salivating for the fourth season, but surely the episode finding Mickey and Danny naked in the midst of London will go down as one of the best that Hustle's ever managed to rustle up. Running richly through the duration of the series though are the trademark features that have made Hustle as popular as it is: tightly woven plots, carpet-pulling twists, clever writing and a cast who seem to be having a whale of a time making the show. Is series three up to the standards of the two that preceded it? Absolutely it is, with Robert Vaughn and Adrian Lester on top form, and even the likes of Richard Chamberlain dropping in too. Both consistent, and hugely entertaining, it leaves you positively salivating for Hustle series four… -Jon Foster.

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.

In addition to spawning the popular Naked Gun movie franchise, Police Squad! had a lasting impact on TV comedy, and it's still a guilty pleasure. Hot from the success of Airplane! two years earlier, the ZAZ team (brothers David and Jerry Zucker and writing partner Jim Abrahams) decided to spoof TV cop shows, using the late '50s Lee Marvin series M Squad and the popular series format of Quinn Martin Productions (e. g. , The Streets of San Francisco) as their template for supremely silly, gag-laden satire. With Airplane! star Leslie Nielsen as straight-faced detective Frank Drebin and Alan North as Drebin's befuddled boss, Capt. Ed Hocken, this half-hour series quickly established an irresistible combination of nonstop sight gags, non sequiturs, and repeated routines ("Cigarette?" "Yes, it is") that dared viewers to pay close attention or miss the laughs if they didn't. Ironically, this very quality-you had to actually watch the show instead of casually listening for punchlines-is what ultimately sealed the series' fate. After only six poorly rated episodes, Police Squad! was canceled without fanfare, and six years passed before Drebin returned as the bumbling hero of The Naked Gun. In addition to the rib-tickling disparity between onscreen episode titles and narrated titles, and "special guest stars" (including William Shatner, Robert Goulet, Lorne Greene, and others) who get killed in the opening credits, loyal viewers could count on a weekly dose of hilarity from Nielsen, North, and their supporting players. Character actor William Duell appeared each week as shoeshine boy "Johnny the Snitch," capable of answering literally any question if you repeatedly greased his palm (a gag that led to info-seeking cameo appearances by Dick Clark, Dr. [+]