NASA's worst nightmare turned into one of the space agency's most heroic moments in 1970, when the Apollo 13 crew was forced to hobble home in a disabled capsule after an explosion seriously damaged the moon-bound spacecraft. Tom Hanks, Kevin Bacon, and Bill Paxton play (respectively) astronauts Jim Lovell, Jack Swigert, and Fred Haise in director Ron Howard's intense, painstakingly authentic docudrama. The Apollo 13 crew and Houston-based mission controllers race against time and heavy odds to return the damaged spacecraft safely to Earth from a distance of 205,500 miles. Using state-of-the-art special effects and ingenious filmmaking techniques, Howard and his stellar cast and crew build nail-biting tension while maintaining close fidelity to the facts. The result is a fitting tribute to the Apollo 13 mission and one of the biggest box-office hits of 1995. -Jeff Shannon.

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 second batch of episodes from David Tennant's maiden run as the title character finds Doctor Who building up an impressive head of steam. There's a trip back in time to see Queen Victoria, a reunion with an old friend and some deadly clockwork nemeses to contend with as the series really bursts into life. Tooth & Claw is first up, set back in 1897 Scotland, as the Doctor and Rose must contend with a deadly werewolf, mysterious monks and the suspicions of Queen Victoria. It's not the strongest of the series, but even so, this is Doctor Who on fine form and very sure footing. School Reunion is superb, though. It brings back two of the Doctor's previous companions, Sarah-Jane and K-9, and asks some intriguing questions of what happens to his assistants once he leaves them behind. That it also ties in an intriguing story of sinister goings on at an innocent looking school only adds to the achievement. The final episode, The Girl In The Fireplace, is also excellent. This is a staggeringly successful mixture of love story, unnerving baddies and quality science fiction. It's the episode to date where Tennant has looked surest with the role, and it's a highlight of an already highly impressive series. [+]

A harrowing portrayal of Deep South life in the 21st century, Monster's Ball hits you where it hurts most, in the complex realm of extreme human emotions. This is not a movie to pass the time on a Sunday afternoon. With intriguing juxtapositions and some of the best editing of recent times it has all the makings of a modern film noir, yet it's not only the men that end up on the wrong side of the track: pride and ill-fortune are the real femme fatales here. Billy Bob Thornton is a death row officer whose redneck father has taught him that emotions make you weak, leading to an inability to love his son (Heath Ledger) and feel any compassion for the convicts in his care. When he loses a "loved one", he embarks on a relationship with the widow (Halle Berry) of a man whom he strapped in the electric chair, and the two of them search for comfort in sex, alcohol and chocolate ice-cream. The movie features fine turns from all actors involved, with Berry deservedly winning an Oscar for best actress and Ledger proving he is more than eye candy. Far from concluding the suffering, the ending leaves the viewer in an emotional void in which you will find yourself analysing your own shortcomings, prejudices and emotional ties. -Nikki Disney.

After all the controversy has subsided, Mel Gibson's The Passion of the Christ will remain a force to be reckoned with. In the final analysis, "Gibson's Folly" is an act of personal bravery and commitment on the part of its director, who self-financed this $25-30 million production to preserve his artistic goal of creating The Passion of Christ ("Passion" in its original context meaning "suffering") as a quite literal, in-your-face interpretation of the final 12 hours in the life of Jesus, scripted almost directly from the Gospels (and spoken in Aramaic and Latin with a relative minimum of subtitles) and presented as a relentless, 126-minute ordeal of torture and crucifixion. For Christians and non-Christians alike, this film does not "entertain" and it's not a film that one can "like" or "dislike" in any conventional sense. (It is also emphatically not a film for children or the weak of heart. ) Rather, The Passion is a cinematic experience that serves an almost singular purpose: to show the scourging and death of Jesus Christ in such horrifically graphic detail (with Gibson's own hand pounding the nails in the cross) that even non-believers may feel a twinge of sorrow and culpability in witnessing the final moments of the Son of God, played by Jim Caviezel in a performance that's not so much acting as a wilful act of submission, so intense that some will weep not only for Christ, but for Caviezel's unparalleled test of endurance. If one judges what is on the screen (so gloriously served by John Debney's score and Caleb Deschanel's cinematography), there is fuel for debate about the film's alleged anti-Semitic slant but no obvious malice aforethought; the Jews under Caiphas are just as guilty as the barbaric Romans who carry out the execution, especially after Gibson excised (from the subtitles, if not the soundtrack) the film's most controversial line of dialogue. If one accepts that Gibson's intentions are sincere, The Passion can be accepted for what it is: a gruelling, straightforward (some might say unimaginative) and extremely violent depiction of The Passion, guaranteed to render devout Christians speechless while it intensifies their faith. Non-believers are likely to take a more dispassionate view, and some may resort to ridicule. But one thing remains undebatable: with The Passion of the Christ, Gibson puts his money where his mouth is. You can praise or damn him all you want, but you've got to admire his chutzpah. [+]

Donnie Darko is a thought-provoking, touching and distinctive offering from relative newcomer, Richard Kelly (II). It's 1988 in small-town America and Donnie, a disturbed teenager on medication and undergoing psychoanalysis for his blackouts and personality disorders, is being visited by a being in a rabbit suit whom he calls Frank. It's this anti-Harvey that saves Donnie from being crushed to death when an airplane engine falls from the sky onto his house. This is the beginning of their escalating relationship, which, as Donnie follows Frank's instructions, becomes increasingly violent and destructive. Added to this is Frank's warning of the impending apocalypse and Donnie's realisation that he can manipulate time, leading to a startling denouement where nearly everything becomes clear. "Nearly everything", because Donnie Darko is a darkly comic, surreal journey in which themes of space, time and morality are interwoven with a classic coming-of-age story of a teenage boy's struggle to understand the world around him. The film leaves the viewer with more questions than it answers, but then that's part of its charm. Performances are superb: Jake Gyllenhaal underplays the mixed-up kid role superbly and Donnie's episodes of angst positively erupt out of the screen. There are also some starry cameos from Mary McDonnell as Donnie's long-suffering mother, Patrick Swayze as Jim Cunningham, the personal-development guru with a terrible secret, and Noah Wyle and Drew Barrymore as Donnie's progressive teachers. Undoubtedly too abstruse for some tastes, Donnie Darko's balance of outstanding performances with intelligent dialogue and a highly inventive story will reward those looking for something more highbrow than the average teenage romp. [+]

David Tennant ably steps into the shoes of the famous Timelord, as the first couple of episodes of the `second' series of the reborn Doctor Who make it to DVD. In fact, that's not quite true. The first of the two is actually the excellent 2005 Christmas special, The Christmas Invasion, which not only marked Tennant's first full story in the role, but also proved to be an excellent way to spend an hour. Taking place during the festive season, the story finds Earth under imminent threat of invasion, at a time when the Doctor is still getting over his regeneration. That means extra pressure for Billie Piper's Rose Tyler, but also offers a welcome return to the series for the terrific Penelope Wilton as Harriet Jones. Yet it's the witty script and Tennant's confident performance that define the episode. The `proper' start of the `second' series was the slightly uneven New Earth, which scores well again in the humour stakes, but struggles a little more with the story itself. The Doctor and Rose find themselves billions of years in the future, called to a hospital where the feline nursing staff have a cure for every disease. Naturally, there's something more sinister going on, and there's the returning, unscrupulous last surviving human Cassandra (played again by Zoe Wanamaker) to deal with. But while it amounts to a fun episode, it's slightly below the standard the show has set itself of late. [+]