With its complex twists and turns, AS Byatt's doorstopper of a novel Possession is hardly the kind of tale that translates easily to film, even though its switches in time across more than a century are intrinsically filmic. In this adaptation the basic story revolves around two modern-day academics, Maud Bailey (Gwyneth Paltrow, a class act, all ice and severe hair) and the young American Roland Michell (the charmingly diffident Aaron Eckhart). They find themselves thrown together as they track a secret love affair between two fictional Victorian poets, Randolph Henry Ash and Christable LaMotte (Jeremy Northam and Jennifer Ehle, both of them eminently convincing costume-drama veterans). As our two modern-day sleuths uncover the truth they (surprise, surprise) find themselves falling for one another. Director Neil LaBute may have strayed from familiar territory (Nurse Betty) but he's managed to translate book to screen with compelling directness, and much credit should go not only to the four leads, but also to Lena Headey, who plays the tragic Blanche Glover, LaMotte's rejected lover. Overall it's a very lyrical movie, visually a treat for the eye, with the period detail beautifully caught and much beautiful scenery to be had. And the score itself, by Gabriel Yared, seems to encapsulate England in its pastoral beauty. Yes, of course the intricacies of the novel are much simplified, with some characters written out altogether, but its central spirit is retained and it makes for an ultimately compelling experience. On the DVD: Possession has a pleasingly sharp and well-defined picture quality that makes the most of the fabulous visuals. However, extras are limited. [+]

This is the TV movie that put Steven Spielberg on the map, shortly before he made The Sugarland Express. Working from a script by Richard Matheson, the film stars Dennis Weaver as a mild-mannered traveling salesman who unintentionally angers the driver of a semi truck. Suddenly, the truck is not only riding his tail but trying to run him off the road. No matter what he does (pulling over, stopping at a diner, calling the cops), he can't get rid of it. Spielberg makes the wise decision of never showing the driver, even as he cranks the voltage on the film's suspense elements. As a result, the truck itself takes on an air of satanic menace-even a personality of sorts-as it seems to hunt its human prey. Spielberg made a lot out of a little, suggesting just how skilled a storyteller he would become. -Marshall Fine.

The controversy that surrounded Stanley Kubrick's adaptation of Anthony Burgess's dystopian novel A Clockwork Orange while the film was out of circulation suggested that it was like Romper Stomper: a glamorisation of the violent, virile lifestyle of its teenage protagonist, with a hypocritical gloss of condemnation to mask delight in rape and ultra-violence. Actually, it is as fable-like and abstract as The Pilgrim's Progress, with characters deliberately played as goonish sitcom creations. The anarchic rampage of Alex (Malcolm McDowell), a bowler-hatted juvenile delinquent of the future, is all over at the end of the first act. Apprehended by equally brutal authorities, he changes from defiant thug to cringing bootlicker, volunteering for a behaviourist experiment that removes his capacity to do evil. It's all stylised: from Burgess' invented pidgin Russian (snarled unforgettably by McDowell) to 2001-style slow tracks through sculpturally perfect sets (as with many Kubrick movies, the story could be told through decor alone) and exaggerated, grotesque performances on a par with those of Dr Strangelove (especially from Patrick Magee and Aubrey Morris). Made in 1971, based on a novel from 1962, A Clockwork Orange resonates across the years. Its future is now quaint, with Magee pecking out "subversive literature" on a giant IBM typewriter and "lovely, lovely Ludwig Van" on mini-cassette tapes. However, the world of "Municipal Flat Block 18A, Linear North" is very much with us: a housing estate where classical murals are obscenely vandalised, passers-by are rare and yobs loll about with nothing better to do than hurt people. On the DVD: The extras are skimpy, with just an impressionist trailer in the style of the film used to brainwash Alex and a list of awards for which Clockwork Orange was nominated and awarded. The box promises soundtracks in English, French and Italian and subtitles in ten languages, but the disc just has two English soundtracks (mono and Dolby Surround 5. [+]

When the theatrical release of James Cameron's Titanic was delayed from July to December of 1997, media pundits speculated that Cameron's $200 million disaster epic would cause the director's downfall, signal the end of the blockbuster era, and sink Paramount Studios as quickly as the ill-fated luxury liner had sunk on that fateful night of April 14, 1912. Some studio executives were confident, others horrified, but the clarity of hindsight turned Cameron into an Oscar-winning genius, a shrewd businessman, and one of the most successful directors in the history of motion pictures. Titanic would surpass the $1 billion mark in global box-office receipts (largely due to multiple viewings, the majority by teenage girls), win 11 Academy Awards including best picture and director, produce the best-selling movie soundtrack of all time, and make a global superstar of Leonardo DiCaprio. A bona fide pop-cultural phenomenon, the film has all the ingredients of a blockbuster (romance, passion, luxury, grand scale, a snidely villain, and an epic, life-threatening crisis), but Cameron's alchemy of these ingredients proved more popular than anyone could have predicted. His stroke of genius was to combine absolute authenticity with a pair of fictional lovers whose tragic fate would draw viewers into the heart-wrenching reality of the Titanic disaster. As starving artist Jack Dawson and soon-to-be-married socialite Rose DeWitt Bukater, DiCaprio and Kate Winslet won the hearts of viewers around the world, and their brief but never-forgotten love affair provides the humanity that Cameron needed to turn Titanic into an emotional experience. Present-day framing scenes (featuring Gloria Stuart as the 101-year-old Rose) add additional resonance to the story, and although some viewers proved vehemently immune to Cameron's manipulations, few can deny the production's impressive achievements. Although some of the computer-generated visual effects look artificial, others-such as the sunset silhouette of Titanic during its first evening at sea, or the climactic splitting of the ship's sinking hull-are state-of-the-art marvels. In terms of sets and costumes alone, the film is never less than astounding. More than anything else, however, the film's overwhelming popularity speaks for itself. [+]

Steven Spielberg, proving he's one of the few modern filmmakers who has the visual fluency to be capable of making a great silent film, took a melodramatic, DW Griffith-inspired approach to filming Alice Walker's novel. His tactics made the film controversial, but also a popular hit. You can argue with the appropriateness of Spielberg's decision, but his astonishing facility with images is undeniable-from the exhilarating and eye-popping opening shots of children playing in paradisiacal purple fields to the way he conveys the brutality of a rape by showing hanging leather belts banging against the head of the shaking bed. In a way it's a shame that Whoopi Goldberg, a stage monologist who made her screen debut in this movie, went on to become so famous, because it was, in part, her unfamiliarity that made her understated performance as Celie so effective. (This may be the first and last time that the adjective understated can be applied to Goldberg. ) Nominated for 11 Academy Awards, including best picture and actress (supporting players Oprah Winfrey and Margaret Avery were also nominated), it was quite a scandal-and a crushing blow to Spielberg-when The Color Purple won none. -Jim Emerson Steven Spielberg took a melodramatic DW Griffith-inspired approach to filming Alice Walker's novel The Color Purple. His tactics made the film controversial, but also a popular hit. You can argue with the appropriateness of Spielberg's decision, but his astonishing facility with images is undeniable-from the exhilarating and eye-popping opening shots of children playing in paradisiacal purple fields to the way he conveys the brutality of a rape by showing hanging leather belts banging against the head of the shaking bed. In a way it's a shame that Whoopi Goldberg, a stage monologist who made her screen debut in this movie, went on to become so famous, because it was, in part, her unfamiliarity that made her understated performance as Celie so effective. [+]

The pity of war has been a much-favoured film topic; the treachery of war much less so, though never more persuasively than in Paths of Glory, Stanley Kubrick's breakthrough feature from 1957. Kirk Douglas gives one of his finest screen performances as Colonel Dax, the idealistic First World War soldier appalled by the arbitrary court-marshal meted out to three of his men after an impossible attempt to storm German lines goes disastrously wrong. George Macready is an utterly believable Gerneral Mireau, obsessed with his own honour and standing, whom Adolphe Majou complements tellingly as the urbane and cynical General Bruler. Those who know Kubrick from his later sprawling epics will be surprised at the tautness and concision shown here, even though the screenplay-which he co-wrote-has a certain theatrical stiffness. On the DVD: Paths of Glory on disc reproduces well in full-screen format, and Gerald Fried's bitingly ironic score comes through powerfully. There are five dubbed and six subtitled languages. The original trailer is a masterpiece of gritty reportage, well worth reviving. Along with Dr Strangelove and 2001, this is Kubrick's most focussed and durable film. -Richard Whitehouse.

On the surface, David Cronenberg may seem an unlikely candidate to direct A History of Violence, but dig deeper and you'll see that he's the right man for the job. As an intellectual seeker of meaning and an avowed believer in Darwinian survival of the fittest, Cronenberg knows that the story of mild-mannered small-town diner proprietor Tom Stall (Viggo Mortensen) is in fact a multilayered examination of inbred human behavior, beginning when Tom's skillful killing of two would-be robbers draws unwanted attention to his idyllic family life in rural Indiana. He's got a loving wife (Maria Bello) and young daughter (Heidi Hayes) who are about to learn things about Tom they hadn't suspected, and a teenage son (Ashton Holmes) who has inherited his father's most prominent survival trait, manifesting itself in ways he never expected. By the time Tom has come into contact with a scarred villain (Ed Harris) and connections that lead him to a half-crazy kingpin (William ! Hurt, in a spectacular cameo), Cronenberg has plumbed the dark depths of human nature so skillfully that A History of Violence stands well above the graphic novel that inspired it (indeed, Cronenberg was unaware of the source material behind Josh Olson's chilling adaptation). With hard-hitting violence that's as sudden as it is graphically authentic, this is A History of Violence that's worthy of serious study and widespread acclaim. -Jeff Shannon.

This gentle comedy almost seems like something out of Hollywood's Golden Age, a movie that might have been made by a talented contract director, perhaps featuring Don Ameche and Claudette Colbert. But in fact One Fine Day stars George Clooney as an investigative columnist for a New York newspaper and Michelle Pfeiffer as an architect. Both single parents, the two meet and bicker and develop a relationship over the course of a day while their young children play together. Michael Hoffman (Restoration) directs with a good sense of what's funny about harried caretakers and kids who do whatever they want to do. The story stretches out of shape a bit when Clooney's character has to rally to prove some point of corruption at City Hall; nobody involved seems quite up to making that subplot believable, but all that really matters about this very nice movie is the winning love story. -Tom Keogh.

You wouldn't think that a movie, which mostly consists of two old guys talking could be a thriller, but that's exactly what L'Homme du Train is. French singer Johnny Hallyday plays a professional criminal who comes to a small town to take part in a robbery. By chance, he meets talkative Jean Rochefort, who invites the laconic Hallyday to stay at his house because the hotel is closed. The two form an unlikely friendship, each curious about (and envious of) the other's life. But all the while plans for the robbery continue, while Rochefort is preparing for a dangerous event of his own. The pitch-perfect performances make L'Homme du Train completely involving. Rochefort and Hallyday play off of each other beautifully; it's impossible to put your finger on what makes these subtle, supple scenes so magnetic. The whole is directed with spare authority by Patrice Leconte (La Veuve de Saint-Pierre). -Bret Fetzer.