Bette Midler plays a Janis Joplin-like singer overwhelmed by stardom and its excesses. Mark Rydell (On Golden Pond) directs what is a kind of hybrid showcase for Midler's concert talents and a standard pop biopic, with the usual rhythms of desire, success, betrayal, failure, and such. Alan Bates is the best thing about the movie as the Rose's ruthless manager, and Harry Dean Stanton and Frederic Forrest add some interesting seasoning. But as a whole, the film can't rise above its mixed purposes or clichés. -Tom Keogh.

Tom Baker's reign as the venerable British science fiction hero Doctor Who began with this four-part serial from 1974-75; it also marked the dawn of what was arguably the most popular period in the program's history. Written by Terrance Dicks, Robot also introduces the late Ian Marter as the Doctor's companion-to-be Harry Sullivan, a UNIT medic who is pulled into the adventure after treating the Doctor, who is recovering from his fourth regeneration (third Doctor Jon Pertwee appears briefly at the beginning of the first episode). Meanwhile, Sarah Jane (Elisabeth Sladen) and the Brigadier (Nicholas Courtney) investigate a series of robberies involving a top secret weapons project that seem to have been carried out not by humans, but a colossal object. Could the mysterious "Think Tank" and its robotics division be involved? Robot is a terrific launching point for "The Baker Years"-the star himself is charming and amusing, and the story itself is brisk, involving, and quite suspenseful at times. In short, it's an excellent point for Who newcomers to introduce themselves to this most well-loved of Doctors. The single-disc DVD includes commentary by Baker, Sladen, Dicks, and producer Barry Letts, as well as a 40-minute documentary titled "Are Friends Electric?" which recalls the production of Baker's first serial via interviews with the cast and production team, including producer Phillip Hinchcliffe and director Christopher Barry. "The Tunnel Effect" is a 13-minute interview with graphic designer Bernard Lodge on how he created the memorable "infinite tunnel" titles for the Baker stories, and there's a clip from children's program Blue Peter, which was broadcast from the set of Robot. The by-now standard photo gallery, production notes, and a PDF of the Radio Times listings round out the extras. -Paul Gaita.

The clue to what Son Of Rambow is about is all in the title, minus that W, of course (which presumably keeps the lawyers at bay). For it's the story of two young boys who, after watching Sylvester Stallone in action, decide that they can make a home movie addition to the Rambo saga, and ultimately set about to do just that. This proves to be an inspired platform for one of the best British comedies of recent years. Directed by Garth Jennings (who also helmed the big screen adaptation of The Hitchhiker's Guide To The Galaxy), Son Of Rambow is actually at heart the exploration of a friendship between two young boys in the 1980s, and the highs and lows that go along with it. Most, but not all, of the chuckles come from the reimagining of Rambo (replete with stunts and plenty of action), but Son Of Rambow also packs in some poignant, affecting drama without ever feeling like it's in any way overstaying its welcome. And with a musical backing that catches the flavour of the 80s pretty much perfectly, this is a treat of a movie, and a very British one at that. Don't miss it. -Jon Foster Will Poulter, Bill Milner, Jules Sitruck, Charlie Thrift, Jessica Stevenson.

Four extremely beautiful people do extremely horrible things to one another in Closer, Mike Nichols' pungent adaptation of Patrick Marber's play that easily marks the Oscar-winning director's best work in years. Anna (Julia Roberts) is a photographer who specializes in portraits of strangers; Dan (Jude Law) is an obituary writer struggling to become a novelist; Alice (Natalie Portman) is an American stripper freshly arrived in London after a bad relationship; and Larry (Clive Owen) is a dermatologist who finds love under the most unlikely of circumstances. When their paths cross it's a dizzying supernova of emotions, as Nichols and Marber adroitly construct various scenes out of their lives that pair them again and again in various permutations of passion, heartbreak, anger, sadness, vengeance, pleading, deception, and most importantly, brutal honesty. It's only until you're more than halfway through the movie that you'll have to ask yourself exactly why you are watching such a beautifully tragic tale, as Closer is basically the ickiest, grossest, most dysfunctional parts of all your past relationships strung together into one movie. Ultimately, it falls to the four actors to draw you deeper into the story; all succeed relatively, but it's Law and Owen whose characters will cut you to the quick. Law proves that yet again he's most adept at playing charming, amoral bastards with manipulative streaks, and Owen is nothing short of brilliant as the character most turned on by the energy inherent in destructive relationships-whether he's on the giving or receiving end. -Mark Englehart.

Season 1 Pulling few punches and garnering its fair share of headlines as a result, The Tudors is a controversial, yet compelling period piece, that dramatically tells the story of the early years of King Henry VIII. Not for nothing, though, has it attracted its fair share of awards attention. For The Tudors is a complex drama, and not one to simplify its storylines. The young Henry, for instance, is exploring his muddled romances and his insecurities, against the challenges his kingdom is facing. It’s a plate-full for him to deal with, and in the hands of a superb performance from Jonathan Rhys Meyers-a real revelation in the role-as the young Henry, it’s all vividly and skillfully knitted together. But The Tudors isn’t just about its central character, for there’s a terrific supporting cast at work too. Sam Neill’s Cardinal Wolsey, Jeremy Northam’s Thomas More and Natalie Dormer’s Ann Boleyn are just some who earn plaudits here. Behind the camera there’s the pen of Elizabeth writer Michael Hirst at work, and he too deserves much credit, clearly getting his teeth into the fascinating subject matter. The Tudors is, undoubtedly, a graphic production, and earns its 15 certificate comfortably. It’s also been knocked for the liberties it takes with its history when putting its story across, with some justification. [+]

Richard Gere plays an enrollee at a Naval officers candidate school and Debra Winger is the woman who wants him. That's pretty much it, story-wise, in this romantic drama, which is more effective in a moment-to-moment, scene-by-scene way, where the two stars and Oscar-winner Louis Gossett Jr. -as Gere's tough-as-nails drill instructor-are fun to watch. Sexy, syrupy, with occasional pitches of high drama (Gere having a near-breakdown during training is pretty strong), An Officer and a Gentleman proves to be a no-brainer date movie. -Tom Keogh.

Watching Baz Luhrmann's award-winning Moulin Rouge is a lot like falling in love. It is total immersion cinema and while you're experiencing it ("watching" is too passive a word) you can't imagine that cinema could be for anything else. In the harsh, objective post-viewing daylight Lurhmann's gaudy spectacular might seem like a triumph of glossy style over any genuine substance, but as the film unfolds Lurhmann subjects his audience to a such a barrage of overtly stylised music, dance, colour, design and human passion that the senses are overwhelmed and critical faculties put on hold for the duration. The story is paper-thin, but that's hardly the point. Nicole Kidman's courtesan Satine falls for poor poet Ewan McGregor while pledged to a psychotic English Duke. The show goes on, of course, and we know it will end in tragedy-because that's the sort of story this is, and the only thing that makes it bearable is the knowledge that it's all just brilliant artifice. The third of Luhrman's "Red Curtain" trilogy (after Strictly Ballroom and Romeo + Juliet), Moulin Rouge reinvents musical cinema, acknowledging its debt to past masters like Vincente Minnelli (Gigi) and Michael Powell (The Red Shoes), but taking in the best of rock video along the way. The incessant MTV-style editing might seem like a distraction, but in the end a film insane enough to include Jim Broadbent's cover of "Like a Virgin" defines its own genre rules. On the DVD: this double-disc package sets new standards of presentation while also having an ideally appropriate light-heartedness. The extra features are as inventive in their use of the format as the film itself. [+]

Ali is a substantial biopic that follows the career of Cassius Clay aka Muhammad Ali from 1964-when he took the world heavyweight championship from Sonny Liston-to 1974, when he took it back from George Foreman in Zaire. Along the way, the film looks at Ali's three marriages and his problematic involvement with the Nation of Islam, which inspires him to change his name, get rid of his first wife (Jada Pinkett Smith) and turn his back on old ally Malcolm X (Mario Van Peebles). For a fiercely independent person, Michael Mann's Ali has a knack of alienating those who genuinely love him, while chasing the approval of dubious father figures such as the Reverend Elijah Mohamed, Don King and President Mobutu. Although Ali is not a hagiography-Mann urging Will Smith to get into the many layers of Ali, from the mouthy public face to the quieter private person-the question of whether either of the Liston fights were fixed isn't even raised, and the fall of Ali's career is left out in favour of a climax that draws heavily from the documentary When We Were Kings. Mann is as interested in the politics as he is in the sport (which leaves actors like Ron Silver as the coach short-changed), offering occasional cutaways to the government spies and plants in the black movements. More knockout blows are offered in the speeches than in the ring. -Kim Newman.

Perky teen starlet Hilary Duff wholeheartedly embraces the kind of earnest innocence all parents wish their daughters had. In Raise Your Voice, Terri Fletcher yearns to go to a prestigious music conservatory in Los Angeles. Her father won't let her because L. A. is a bad place, but her loving mom and kooky aunt sneak her away. Once there, she gets a sassy roommate-of-colour, geeky cool friends, a snooty rival, and a sexy British boyfriend. Of course, all conflicts with family and friends come to a head at a big competition at which Terri rediscovers herself. Formulaic? Yes. Bland? Yes. Will preteen girls enjoy it anyway? Maybe, because Duff plays it so sincere. [+]

Like the Greenwich Village courtyard view from its titular portal, Alfred Hitchcock's classic Rear Window is both confined and multileveled: its story and visual perspective are dictated by its protagonist's imprisonment in his apartment, convalescing in a wheelchair, from which both he and the audience observe the lives of his neighbours. Cheerful voyeurism, as well as the behaviour glimpsed among the various tenants, affords a droll comic atmosphere that gradually darkens when he sees clues to what may be a murder. Photographer LB "Jeff" Jeffries (James Stewart) is, in fact, a voyeur by trade, a professional photographer sidelined by an accident while on assignment. His immersion in the human drama (and comedy) visible from his window is a by-product of boredom, underlined by the disapproval of his girlfriend, Lisa (Grace Kelly), and a wisecracking visiting nurse (Thelma Ritter). Yet when the invalid wife of Lars Thorwald (Raymond Burr) disappears, Jeff enlists the two women to help him to determine whether she's really left town, as Thorwald insists, or been murdered. Hitchcock scholar Donald Spoto convincingly argues that the crime at the centre of this mystery is the MacGuffin-a mere pretext-in a film that's more interested in the implications of Jeff's sentinel perspective. We actually learn more about the lives of the other neighbours (given generic names by Jeff, even as he's drawn into their lives) he, and we, watch undetected than we do the putative murderer and his victim. Jeff's evident fear of intimacy and commitment with the elegant, adoring Lisa provides the other vital thread to the script, one woven not only into the couple's own relationship, but reflected and even commented upon through the various neighbours' lives. At a minimum, Hitchcock's skill at making us accomplices to Jeff's spying, coupled with an ingenious escalation of suspense as the teasingly vague evidence coalesces into ominous proof, deliver a superb thriller spiked with droll humour, right up to its nail-biting, nightmarish climax. At deeper levels, however, Rear Window plumbs issues of moral responsibility and emotional honesty, while offering further proof (were any needed) of the director's brilliance as a visual storyteller. [+]