Although the premise of infidelity and its devastating consequences on all involved may not be a new one, Unfaithful still manages to emerge as a stylish, involving thriller. Based on an obscure 1970s French offering, director Adrian Lynne's version is pure Hollywood, from its casting of Richard Gere and Diane Lane in the lead roles, to its graceful visual style and even its somewhat unsatisfactory denouement. It's impossible not to watch the film without thinking of Lynne's own Fatal Attraction, although here the gender roles have been reversed to focus on the affair between bored suburban housewife Connie and exotic French book dealer Paul. The obsessive relationship between the two provides the film with its only real frisson. Gere is given very little to work with as the dull cuckolded husband Edward and delivers even less. The film moves rather slowly towards its key plot twist which never really lives up to its promise. On the DVD: Unfaithful may be lacking a little as a film, but this DVD is an impressive package. The film has a rich visual element and the digital picture quality brings out the best in Adrian Lynne's unique eye for detail. The reams of extras include commentaries from director Lynne and the cast, a well put together documentary, interviews, features, deleted scenes and a (superior) alternative ending. Lynne is always good interview value, coming across as a slightly less eccentric Ken Russell, and Lane and Olivier Martinez are both engaging and charismatic. [+]

Fine casting, rugged characters and authentic military detail make The Bridge at Remagen one of the best World War II action films of the 1960s. Based on actual incidents during the final Allied advance on Germany in March 1945, the story focuses on the US Army's exhausted 27th Armoured Infantry, assigned to seize the bridge at Remagen, on the Rhine river, to prevent 50,000 German troops from retreating to safety. Lt Hartman (George Segal) leads the mission, while a Nazi major (Robert Vaughn) defies orders by attempting to hold the bridge instead of blowing it up. With strong emphasis on war's harsher realities, the film's compelling characters illustrate the camaraderie of survivors and the heroism of mavericks in the thick of battle. Segal and Ben Gazzara effectively convey a hard-won friendship, and the film's dynamic action (filmed in Czechoslovakia and Italy) never overwhelms the story's emotional impact. This is highly recommended. -Jeff Shannon, Amazon. com.

Clever twists and a bona fide surprise ending make Primal Fear an above-average courtroom thriller. Tapping into the post-O J scrutiny of the American legal system in the case of a hotshot Chicago defence attorney (Richard Gere) whose latest client is an altar boy (Edward Norton) accused of murdering a Catholic archbishop. The film uses its own manipulation to tell a story about manipulation and when we finally discover who's been pulling the strings, the payoff is both convincing and pertinent to the ongoing debate over what constitutes truth in the American system of justice. Making an impressive screen debut that has since led to a stellar career, Norton gives a performance that rides on a razor's edge of schizophrenic pathology-his role is an actor's showcase and without crossing over the line of credibility, Norton milks it for all it's worth. Gere is equally effective in a role that capitalises on his shifty screen persona and Laura Linney and Frances McDormand give memorable performances in their intelligently written supporting roles. -Jeff Shannon, Amazon. com.

One of the classics of the noir psychological thriller, In a Lonely Place is one of Humphrey Bogart's finest performances. He is almost unbearably intense as Dixon Steele, a screenwriter with high standards and a nasty temper who finds himself under suspicion when Mildred, a hat-check girl he knows, is found murdered. Immediately he gets an alibi from a neighbour, Laurel, and equally quickly, he recognises that this is a woman who meets his standards: the question is, as suspicion of his involvement in Mildred's death continues, can he make himself meet hers? This is a wonderful study in trust and suspicion and the limits of love; Bogart's performance is impressive simply because he is prepared to go well over the limits of our sympathy in the name of emotional truth. The scene where he explains imaginatively to a cop and his wife how the murder might have happened is a spine-chilling, creepy portrait of amoral artistic brilliance. Gloria Grahame is equally fine as the woman who lets herself love him, for a while. On the DVD: In a Lonely Place comes with an excellent documentary in which Curtis Hanson (LA Confidential) explains the importance of the film to him and discusses its place in the work of Bogart and the director Nicholas Ray; there is also a quick interesting documentary about the restoration and digitisation of classic films. The film is presented with a visual aspect ratio of 1. 33:1 and with restored Dolby Surround sound that does full justice to the film's snappy dialogue and the moody George Antheil score. -Roz Kaveney.

Over-the-top yet well-written, Nip/Tuck was one of the most intriguing shows on television… until season three, when it took everything-everything-way too far. What once used to be a show about self-worth and society's perception of beauty as portrayed by plastic-surgery patients has become about the abject humiliation of women and rampant storylines. It alienated many fans, who found its love of excess ludicrous and at times, unforgivable. Maybe it was the storyline about Matt (John Hensley), who discovers the love of his life was actually a transsexual, shaves his head and starts dating a white supremacist (American Dreams' Brittany Snow). Or the disturbing new plastic-surgery cases (obese woman physically stuck to her couch, a 17-year-old petrified fetus). Or even the new surgeon Quentin Costa (Bruno Campos) who sleeps with male patients, romances Julia (Joely Richardson) and turns out to have a little "physical quirk" of his own? But the knife that truly stabbed the show's pace into the ground was the ongoing mystery of the Carver, a rapist/killer in a creepy porcelain mask who disfigures victims. Just when the show starts to jell, another character with their mouth cut Black Dahlia-style turns up and throws the show back into a whodunnit, and not even a well-crafted one at that: By the time they reveal the killer's identity, you just don't care anymore. Someone also made a mess of the characters, or at least turned them all manic-depressive; the moral flip-flopping between Sean (Dylan Walsh) and Christian (Julian McMahon) is inexplicable at best. One goes wild, the other grows a conscience-and then they switch sides. One is on the brink of divorce, the other gets engaged-and another switch. [+]

After her son is killed in an accident, Manuela (Cecilia Roth) leaves Madrid for her old haunts in Barcelona. She reconnects with an old friend, a pre-op transsexual prostitute named La Agrado (Antonia San Juan), who introduces her to Rosa (Penélope Cruz), a young nun who turns out to be pregnant. Meanwhile, Manuela becomes a personal assistant for Huma Rojo (Marisa Paredes), an actress currently playing Blanche DuBois in a production of A Streetcar Named Desire. All About My Mothertraces the delicate web of friendship and loss that binds these women together. The movie is dedicated to the actresses of the world, so it's not surprising that all the performances are superb. Roth in particular anchors All About My Mother with compassion and generosity. But fans of writer-director Pedro Almodóvar needn't fret-as always, Almodóvar's work undermines conventional notions of sexual identity and embraces all human possibilities with bright colours and melodramatic plotting. However,All About My Mother approaches its twists and turns with a broader emotional scope than most of Almodóvar's work; even the more extravagant aspects of the story are presented quietly, to allow the sadness of life to be as present as the irrepressible vitality of the characters. Almodóvar embraces pettiness, jealousy and grief as much as kindness, courage and outrageousness, and the movie is the richer for it. -Bret Fetzer.

Raw, uncompromising, and brutal, the fifth season of Oz represents a turning point for the series, tying up loose ends and preparing for the closure of season 6. As with all previous seasons of HBO's hard-edged prison series, the outbreaks of violence, racial tensions, emotional bleakness, and full-frontal male nudity ensure that Oz is decidedly not for the weak of heart. Simmering animosity between the Aryans, Muslims, Sicilians, and Latinos continues unabated; these eight episodes include numerous shankings and slashings, a severed arm, strangulation, a stabbing with a crucifix, and the death (among others) of one of the series' most prominent characters. As Schillinger (J. K. Simmons) and his skinheaded Aryans exploit a naive pair of new inmates, tensions mount between the weak-willed Omar (Michael Wright, in a standout performance) and his prone-to-rage Muslim mentor Kareem Said (Eamonn Walker, also excellent); Ryan O'Reily (Dean Winters) continues to protect his volatile brother Cyril (Scott William Winters) and reunites with his mother (Betty Lynn Buckley) who's in Oz doing community service; McManus (Terry Kinney) locks horns with his ex-wife over prison policy; Alvarez (Kirk Acevado) seeks partial redemption by training a guide-dog for the guard he blinded; and Keller (Christopher Meloni) returns to the "Em City" cellblock, to the relief of his bisexual lover Beecher (Lee Tergesen) who attends "interaction" sessions with Sister Pete (Rita Moreno) to encourage tenuous peace among inmates. With subplots involving guest stars Luke Perry, Peter Criss (from Kiss), Malachy McCourt, and others, the fifth season of Oz is weak at times, but series creator and primary writer Tom Fontana keeps a lot of characters in steady play, covering impressive dramatic territory after the relatively generous allotment of 16 episodes in season 4. The series is clearly winding down here (the semi-musical episode "Variety" is a curious attempt to broaden the show's creative horizons, and works surprisingly well), and the outbreaks of violence now have a rather predictable and oppressive frequency. Anyone looking for "feel good" entertainment should stay away, but Fontana and the uniformly excellent cast maintain admirable depth of character and incident, including a tragic loss (in "Visitation") that resonates throughout the season. Extras are slim: commentary by Fontana and Dean Winters accompanies episode 8 (aptly titled "Impotence"), and like the fifth season itself, it's recommended primarily for devoted Oz viewers who've enjoyed seasons 1-4. [+]

Expect to be very hungry (and perhaps amorous) after watching this contemporary classic in the small genre of food movies that includes Babette's Feast and Big Night. Director Alfonso Arau (A Walk in the Clouds), adapting a novel by his former wife, Laura Esquivel, tells the story of a young woman (Lumi Cavazos) who learns to suppress her passions under the eye of a stern mother, but channels them into her cooking. The result is a steady stream of cuisine so delicious as to be an almost erotic experience for those lucky enough to have a bite. The film's quotient of magic realism feels a little stock, but the story line is good and Arau's affinity for the sensuality of food (and of nature) is sublime. You might want to rush off to a good Mexican restaurant afterward, but that's a good thing. -Tom Keogh, Amazon. com.