The most widely seen movie produced by a Hollywood studio, The Sound of Music grows fresher with each viewing. Though it was planned meticulously in pre-production (save for the scene where Maria and the children take a dipping in an Austrian lake that nearly cost a life), on each viewing one is struck anew by the spontaneous almost improvisatory air of the acting, notably of Julie Andrews under Robert Wise's direction. There are also the little human touches he brings to, for instance, the scene where Maria leads the children to the hills, over bridges and along tow paths where the smallest boy trips up and momentarily gets left behind: it creates a feeling that most of us have encountered. From the opening pre-credit sequence of muted excitement as the camera roves over the Austrian Alps (photographed in magnificent colour), where little phrases from the wind instruments on the soundtrack are flung as if on the breeze, foreshadowing the title song to follow, the production never puts a foot wrong. On the DVD: On the first disc the film itself has never looked or sounded better since its original presentation in Todd AO (prints of which are said to have disappeared forever). The disc also contains a separate audio guide that takes the viewer through the film sequence by sequence, with director Robert Wise commenting on the weather, the production design by Boris Leven, the sequences filmed on location and in Hollywood (like the interiors of the Von Trapp villa), and the naming of other actors who were eager for the lead roles, notably Doris Day and Yul Brynner. On the second disc there are the documentaries. "Salzburg Sight and Sound" was Charmian Carr's own record of her time on location in the summer of 1964, playing Liesl, the eldest Von Trapp daughter. "From Fact to Fiction", running two hours, begins with the birth of Maria in 1905 who inspired the film, charts her subsequent marriage to Captain Von Trapp, their escape from Nazi Germany not across the Alps but via a train across the Italian boarder, their home in Vermont and thence to the German film of the family that was brought to the attention of Rodgers and Hammerstein as an ideal vehicle for a stage musical. A second group of documentaries covers previews, television and radio commercials and a 1973 interview with Wise and Andrews. [+]

The effects are low-tech and no longer special, but Escape to Witch Mountain still has plenty of Disney live-action charm. It's rather quaint by later standards, coming just two years before Star Wars upped the ante on movie magic, but the story's got timeless appeal as a precursor to Harry Potter's more lavish brand of kid-wizardry. Here you've got Tony (Ike Eisenmann) and sister Tia (Kim Richards), orphans unaware of their mysterious past, who are taken in by a nefarious liar (Ray Milland) seeking to exploit their supernatural powers. Populated by '70s stalwarts like Donald Pleasance and Eddie Albert (the latter playing the kids' grown-up accomplice, unwittingly rescuing them from Milland), this lightweight Disney fare is perfect for kids under 10, with such enticements as a clever cat mascot named Winky (because he winks a lot), Tony's magical harmonica. and a Winnebago that flies! With a sci-fi climax, this popular hocus-pocus spawned a 1978 sequel (Return from Witch Mountain) that proved similarly popular with kids. -Jeff Shannon.

A crackling good family adventure, Mee-Shee: The Water Giant stars Bruce Greenwood as a New York City oil-company engineer who interrupts a vacation with his young son, Mac (Daniel Magder), to rescue valuable equipment from the bottom of a British Columbia lake. The effort is somewhat complicated by Mee-Shee, a playful and benevolent cousin of the Loch Ness monster but presumed to be fiction by the local community. Mac, however, encounters Mee-Shee (constructed by the late Jim Henson's Creature Shop) and they become friends, but a pair of industrial saboteurs looking for the biggest score of all have other ideas. The nice cast includes Phyllida Law as the prim landlady of a boarding house (she's ever-so-reminiscent of daughter Emma Thompson in Nanny McPhee), Rena Owen as the lone adult who has seen Mee-Shee and regularly feeds it salmon, and Luanne Gordon as an environmental cop. Director John Henderson, who visited this territory once before in the Ted Danson vehicle, Loch Ness, makes a very crisp drama—with real villains and passions—out of material that might have been quite mawkish in someone else's hands. -Tom Keogh.

"Filmed in VIDECOLOR [explosions, drum roll, music builds to a climax] and SUPERMARIONATION"! The opening sequence of Thunderbirds is itself a masterclass in Gerry Anderson's marionette hyperbole: who else would dare to make a virtue out of the fact that (a) the show is in colour and (b) it's got puppets in it? But everything about this series really is epic: Thunderbirds is action on the grandest scale, pre-dating such high-concept Hollywood vehicles as Armaggedon by 30 years and more (the acting is better, too), and fetishising gadgets in a way that even the most excessive Bond movies could never hope to rival. Unsurprisingly, it transpires that the visual effects are by Derek Meddings, whose later contributions to Bond movies like The Spy Who Loved Me and Moonraker echo his pioneering model work here. As to the characters, the clean-cut Tracey boys take second place in the audiences' affections to their cool machines-the real stars of the show-while comic relief is to be found in the charming company of Lady Penelope and her pink Rolls (number plate FAB1), driven by lugubrious chauffeur Parker, whose "Yes, milady" catch phrase resonated around school playgrounds for decades. (Spare a thought for poor old John Tracey, stuck up in space on Thunderbird 5 with only the radio for company. ) The puppet stunt-work is breathtakingly audacious, and every week's death-defying escapade is nail-bitingly choreographed in the very best tradition of disaster movies. First shown in 1964 and now digitally remastered, Thunderbirds is children's TV that still looks and sounds like big-budget Hollywood. On this DVD: The four episodes are: "The Cham Cham", "Security Hazard", "Atlantic Inferno" and "Path of Destruction".

1998's Mulan is solid entertainment from a new group of Disney animators. The story source is a Chinese fab\ le about a young girl who disguises herself as a man to help her family and her country. When the Huns attack China, a cal\ l to arms goes out to every village, and Mulan's father, being the only man in the family, accepts the call. Mulan (voiced\ by Ming-Na Wen, sung by Lea Salonga) has just made a disastrous appearance at the Matchmaker and decides to challenge soc\ iety's expectations (that she should be a bride). She steals her father's conscription notice, cuts her hair and impersona\ tes a man to join the army. She goes to boot camp, learning to fit in with the other soldiers with some help from her side\ kick, Mushu, a wise-cracking dragon (voiced by Eddie Murphy). She trains, and soon faces the Huns eye to eye to protect he\ r Emperor. The film is gorgeous to look at, with a superior blend of classic and computer-generated animation. Directors\ Tony Bancroft and Barry Cook make the best of it: a battle in the snowy mountains is as thrilling as the best Hollywood a\ ction films. The menacing Huns are not cute but simple and bad. [+]

Kermit's Swamp Years is the full-length version of a one-off American cable television feature that sets out to show us the formative years of the future host of The Muppet Show. Its focus is a childhood adventure involving Kermit and his two best friends: a somewhat delinquent frog called Croaker, and a tremulous toad named Goggles. Though the film was, obviously, made some years after the death of Kermit's creator, Jim Henson, the wit, spirit and joy that informed Sesame Street and The Muppet Show are all discernible here. Henson's resounding genius was to understand that children can tell when they are being treated like idiots, and that they don't much care for it, which is why The Muppet Show is still enjoyed by adults who grew up with the programme, and why none of those adults will object to sitting through Kermit's Swamp Years with their children. On the DVD: Kermit's Swamp Years is presented anamorphically in 1. 78:1 widescreen. Extras include behind-the-scenes footage, which reinforces the fact that the human magic necessary to animate the muppet characters is far more interesting and impressive than any amount of the computer wizardry now favoured by most similar films. There are also some quite well-done muppet pastiches of the common DVD special features, interviews with, and commentary from, the stars, and a collection of bloopers and out-takes. -Andrew Mueller.

Hot from the international triumph of The Wrong Trousers, clay animator Nick Park knew that his third Wallace & Gromit film was going to have to be the biggest and best adventure yet for the mild-mannered inventor Wallace and his perceptive pooch Gromit. With the ambitiously zany plot of A Close Shave, Park and his fellow animators rose to the occasion and their film won the 1995 Academy Award (Park's second Oscar) for Best Animated Short. This time out, Wallace & Gromit have teamed up to provide a window-washing service, and that's how Wallace meets the lovely Wendolene Ramsbottom, a wool-shop owner whose malevolent dog Preston turns out to be the mastermind of a sheep-napping scheme! Of course, no Wallace & Gromit adventure can be without a grandiose gadget, so Wallace's latest invention is the Knit-O-Matic, a yarn-making machine capable of shearing a whole flock of sheep just a bit too efficiently! When the villainous Preston gains control of the mechanical knitting marvel, Gromit must race to the rescue, and A Close Shave reaches new heights of clay-animation mastery. Every shot is a testament to Nick Park's patience, his clever ingenuity, and his filmmaking flair. The movie's so technically impressive, in fact, that the whole world wondered where Park could go next. It was clear that Wallace & Gromit would eventually star in an animated feature-length movie, since this marvellous 30-minute film represents its own kind of short-form perfection. -Jeff Shannon, Amazon. com.

Disney's 1992 animated feature Aladdin is a triumph of wit and skill. The high-tech artwork and graphics look great, the characters are strong, the familiar story is nicely augmented with an interesting villain (Jafar, voiced by Jonathan Freeman), and there's an incredible hook atop the whole thing: Robin Williams's frantically hilarious vocal performance as Aladdin's genie. Even if one isn't particularly moved by the love story between the title character (Scott Weinger) and his girlfriend Jasmine (Linda Larkin), you can easily get lost in Williams's improvisational energy and the equally entertaining performances of Freeman and Gilbert Gottfried (as Jafar's parrot). -Tom Keogh.

Obviously the Disney suits gave more than two figs about the legacy from the first Beast film, as they reassembled the former cast and spent some cash on production and tune-smithing for this straight-to-video effort. The events unfold between the time in the first film where Belle bartered herself to the Beast and her later return to the village to save her father. So the Beast's heart still hasn't been melted yet and he's susceptible to the inky persuasions of Forte (Tim Curry), a malevolent pipe organ (and former music teacher to the prince). Belle is still trying to win over the Beast and decides that bringing Christmas to the castle will be the way to do it. Please control that gag reflex for this does work remarkably well and though entirely unnecessary and certainly not a complement to the original, it doesn't tarnish its good name. -Keith Simanton.