Akira Kurosawa's rousing Seven Samurai was a natural for an American remake-after all, the codes and conventions of ancient Japan and the Wild West (at least the mythical movie West) are not so very far apart. Thus The Magnificent Seven effortlessly turns samurai into cowboys (the same trick worked more than once: Kurosawa's Yojimbo became Sergio Leone's A Fistful of Dollars). The beleaguered denizens of a Mexican village, weary of attacks by banditos, hire seven gunslingers to repel the invaders once and for all. The gunmen are cool and capable, with most of the actors playing them just on the cusp of '60s stardom: Steve McQueen, James Coburn, Charles Bronson, Robert Vaughn. The man who brings these warriors together is Yul Brynner, the baddest bald man in the West. There's nothing especially stylish about the approach of veteran director John Sturges (The Great Escape), but the storytelling is clear and strong, and the charisma of the young guns fairly flies off the screen. If that isn't enough to awaken the 12-year-old kid inside anyone, the unforgettable Elmer Bernstein music will do it: bum-bum-ba-bum, bum-ba-bum-ba-bum. Followed by three inferior sequels, Return of the Seven, Guns of the Magnificent Seven, and The Magnificent Seven Ride! -Robert Horton.

In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of Apocalypse Now as if it was his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad's classic story "Heart of Darkness" into the horrors of the Vietnam War, following a battle-weary Captain Willard (Martin Sheen) on a secret upriver mission to find and execute the renegade Colonel Kurtz(Marlon Brando), who has reverted to a state of murderous and mystical insanity. The journey is fraught with danger involving war-time action on epic and intimate scales. One measure of the film's awesome visceral impact is the number of sequences, images and lines of dialogue that have literally burned themselves into our cinematic consciousness, from the Wagnerian strike of helicopter gunships on a Vietnamese village to the brutal murder of stowaways and the unflinching fearlessness of the surfing warrior Lieutenant Colonel Kilgore (Robert Duvall), who speaks lovingly of "the smell of napalm in the morning. " Like Herzog's Aguirre: The Wrath of God, this film is the product of genius cast into a pit of hell and emerging, phoenix-like, in triumph. Coppola's obsession (effectively detailed in the riveting documentary Hearts of Darkness, directed by Coppola's wife, Eleanor) informs every scene and every frame, and the result is a film for the ages. -Jeff Shannon In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of Apocalypse Now as if it were his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair, but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad's classic story Heart of Darkness onto the horrors of the Vietnam War, following a battle-weary Captain Willard (Martin Sheen) on a secret upriver mission to find and execute the renegade Colonel Kurtz (Marlon Brando), who has reverted to a state of murderous and mystical insanity. [+]

Reach for the Sky was a box-office hit in 1956 and rightly remains a fondly regarded classic of British cinema. Kenneth More is ideally cast as Douglas Bader, the gifted pilot who loses both legs in a pre-war air crash, only to play a major role in the Battle of Britain, rise to the rank of Group Captain and become a war hero. Based on Paul Brickhill's biography, this is an "official" history maybe, but Lewis Gilbert's screenplay and direction are historically accurate and informed by that very British humour, of which More was a natural. The film is graced by a decent supporting cast and a typically "widescreen" score from John Addison. On the DVD: Reach for the Sky is vividly reproduced in 16:9 anamorphic format and decent mono. There are subtitles for the hard of hearing and detailed biographies of More, Gilbert and Barder. The original theatrical trailer is included, but it would also have made sense to include an interview or documentary footage of Bader himself. -Richard Whitehouse.

Sergio Leone had to be persuaded to return to the Western for Once Upon a Time in the West after the success of his "Dollars" trilogy. The result is a masterpiece that expands the vision of the earlier movies in every way. It could as easily have been called The Good, the Bad, the Ugly and the Blonde as Charles Bronson steps into the No-Name role as the harmonica-playing vengeance seeker, Henry Fonda trashes his Wyatt Earp image as a dead-faced, blue-eyed killer who has sold out to the rapacious railroad; Jason Robards provides humanitarian footnotes as a life-loving but doomed bandit and the astonishingly beautiful Claudia Cardinale shows that all these grown-up little boys are less fit to make a country than one determined widow-mother-whore-angel-everywoman. The opening sequence-Woody Strode, Al Mulock and Jack Elam waiting for a train and bothered by a fly and dripping water-is masterful bravura, homing in on tiny details for a fascinating but eventless length of time before Bronson arrives for the lightning-fast shoot-out. With striking widescreen compositions and epic running time, this picture truly wins points for length and width. On the DVD: Once Upon a Time in the West on disc is the transfer fans have been waiting for: the longest available version of the film in shimmering widescreen (enhanced for 16:9 TVs) which lends full impact to Leone's long shots of Monument Valley scenery or bustling crowds of activity, but also highlights his ultra-close images as Bronson's beady eyes or Cardinale's luscious pout fill the entire screen. A commentary track is mostly by expert Sir Christopher Frayling, with input from other academics, participants and enthusiasts-it's good on the detail, and Alex Cox winningly points out that one scene bizarrely can't be reconciled with what happens before or after it. Disc 2 has four featurettes which, taken together, add up to a feature-length documentary on the film, and though overlapping the commentary slightly offer a wealth of further good stuff, plus the elegant Cardinale's undiminished smile. Also included is the trailer, notes on the cast, menu screens with generous selections from Ennio Morricone's score, stills gallery, comparison shots from the film and contemporary snapshots of the locations. -Kim Newman.

Since its release in 1998, Steven Spielberg's D-Day drama Saving Private Ryan has become hugely influential: everything, from the opening sequence of Gladiator ("Saving Marcus Aurelius") to the marvellous 10-hour TV series Band of Brothers, has been made in its shadow. There have been many previous attempts to recreate the D-Day landings on screen (notably, the epic The Longest Day), but thanks to Spielberg's freewheeling hand-held camerawork, Ryan was the first time an audience really felt like they were there, storming up Omaha Beach in the face of withering enemy fire. After the indelible opening sequence, however, the film is not without problems. The story, though based on an American Civil War incident, feels like it was concocted simply to fuel Spielberg's sentimental streak. In standard Hollywood fashion the Germans remain a faceless foe (with the exception of one charmless character who turns out to be both a coward and a turncoat); and the Tom Hanks-led platoon consists of far too many stereotypes: the doughty Sergeant; the thick-necked Private; the Southern man religious sniper; the cowardly Corporal. Matt Damon seems improbably clean-cut as the titular Private in need of rescue (though that may well be the point); and why do they all run straight up that hill towards an enemy machine gun post anyway? Some non-US critics have complained that Ryan portrays only the American D-Day experience, but it is an American film made and financed by Americans after all. Accepting both its relatively narrow remit and its lachrymose inclinations, Saving Private Ryan deserves its place in the pantheon of great war pictures. On the DVD: Saving Private Ryan on disc comes in a good-quality anamorphic 1. 85:1 transfer with a suitably dynamic Dolby Digital 5. 1 sound mix in which bullets fly all around your living room. [+]

1977's A Bridge Too Far by director Richard Attenborough features an all-star cast in an epic rendering of a daring but ultimately disastrous raid behind enemy lines in Holland during the Second World War. A lengthy and exhaustive look at the mechanics of warfare and the price and futility of war, the film is almost too large for its aims but manages to be both picaresque and affecting, particularly in the performance of James Caan. The impressive cast includes Robert Redford, Gene Hackman, Anthony Hopkins, Laurence Olivier, Dirk Bogarde, Sean Connery and Liv Ullmann among others. While not a classic war film, it nevertheless manages to be a consistently interesting and exciting adventure. -Robert Lane.

"A film that will never be equalled for its spectacle and dramatic power" says the stirring trailer on this otherwise sparsely featured DVD. Taking the story of the Napoleonic Wars to Bonaparte's final defeat, Waterloo is an unofficial continuation to director Sergei Bondarchuk's own 70mm super-epic War and Peace (1968). The climactic battle of Waterloo is shown in the second half of the film and re-enacted with such stunning realism by a cast of around 20,000 extras that it looks like documentary footage from history itself (some 20 years later, Gettysburg, 1993, did the same for the American Civil War). Those who hailed the groundbreaking impact of Saving Private Ryan should see Bondarchuk's films, as for sheer scale and intensity-if not bloodiness-they make Spielberg's hit look like an amateur video. Without ever attempting a French accent, Rod Steiger makes a commanding Napoleon, Christopher Plummer a worthy adversary as Wellington, while the supporting cast led by Orson Welles, Jack Hawkins and Virginia McKenna is excellent. The DVD transfer is richly detailed and clear, though the print itself could have done with just a little restoration. Though dated, Abel Glance's Napoleon (1928) remains definitive for many, perhaps explaining why Stanley Kubrick eventually abandoned his planned Napoleon film, instead making the 18th Century period epic Barry Lyndon (1974). -Gary S. Dalkin.

There's something about this film that's so irresistible, despite its grandiose manipulation. Maybe because it recounts the greatest air battle in history, achieving the greatest aerial battle in film history. Maybe because it has such a terrific cast (Harry Andrews, Michael Caine, Trevor Howard, Curt Jurgens, Laurence Olivier, Nigel Patrick, Christopher Plummer, Michael Redgrave, Ralph Richardson, Robert Shaw, Patrick Wymark, and Edward Fox). Maybe because it's so technically well-made, thanks to the Bond team of producer Harry Saltzman and director Guy Hamilton and the great cinematographer Freddie Young. Or maybe because there is something truly riveting about watching the British kick the Nazis back to Germany. -Bill Desowitz.

Dating from 1969, Butch Cassidy and the Sundance Kid has never lost its popularity or its unusual appeal as a star-driven Western that tinkers with the genre's conventions and comes up with something both terrifically entertaining and-typical of its period-a tad paranoid. Paul Newman plays the legendary outlaw Butch Cassidy as an eternal optimist and self-styled visionary, conjuring dreams of banks just ripe for the picking all over the world. Robert Redford is his more level-headed partner, the sharp-shooting Sundance Kid. The film, written by William Goldman (The Princess Bride) and directed by George Roy Hill (The Sting), basically begins as a freewheeling story about robbing trains but soon becomes a chase as a relentless posse-always seen at a great distance like some remote authority-forces Butch and Sundance into the hills and, finally, Bolivia. Weakened a little by feel-good inclinations (a scene involving bicycle tricks and the song "Raindrops Keep Falling on My Head" is sort of Hollywood flower power), the film maintains an interesting tautness, and the chemistry between Redford and Newman is rare. (A factoid: Newman first offered the Sundance part to Jack Lemmon. ) -Tom Keogh, Amazon. com On the DVD: This anamorphic widescreen print of the 2. 35:1 Panavision original looks marvellously crisp, highlighting the sepia tinting and washed-out, over-exposed look of the film nicely and making the best of the deep focus cinematography. The mono soundtrack sounds clean and clear in Dolby 2. [+]

Scorned by reviewers when it came out, Where Eagles Dare has acquired a cult following over the years for its unashamed and highly concentrated dose of commando death-dealing to legions of Nazi machine-gun fodder. In 1968 Clint Eastwood was just getting used to the notion that he might be a world-class movie star; Richard Burton, whose image had been shaped equally by classical theatre and his headline-making romance with Elizabeth Taylor, was eager to try his hand at the action genre. Author Alistair MacLean's novel The Guns of Navarone had inspired the film that started the 1960s vogue for World War II military capers, so he was prevailed upon to write the screenplay (his first). The central location, an impregnable Alpine stronghold locked in ice and snow, is surpassing cool, but the plot and action are ultra-mechanical, and the switcheroo gamesmanship of just who is the undercover double (triple?) agent on the mission becomes aggressively silly. -Richard T Jameson.

One of a series of revisionist Vietnam cinema released in the late 1980s, Stanley Kubrick's Full Metal Jacket is essentially split into two stories linked by a number of characters. The film follows new recruit Joker (Matthew Modine) and his fellow soldiers through their basic training and into combat in Vietnam. The first half is a chilling portrayal of military brutality and de-humanisation, mainly at the hands of Sgt Hartman (played at a level of staggering intensity by ex-Marine Lee Ermey), that centres around the tragic character of Private Pyle, a young man pushed to the edge of his endurance. The tone of the film is no less harsh when transported to the combat zone as we see the results of the training process in action: the young men turned into unquestioning killing machines. Joker is perhaps the one exception, a soldier with "Born to Kill" written on his helmet who also sports a peace sign on his lapel. But the film finds itself caught in the trap of many of the war movies of the time-how to create audience empathy with characters who are essentially in the wrong. It's a dilemma that Full Metal Jacket never really solves, although as a spectacle the film is a masterpiece. Made in the days before CGI became the norm, the battle sequences-filmed, rather bizarrely, in London's Docklands before its redevelopment-are hugely realistic and are perhaps the key moments of the movie, heightening the disorientation and fear felt by the soldiers. By offering no more than a snapshot of the Vietnam conflict (the action deals with one individual skirmish), Kubrick cleverly leaves any judgement on the war to the audience, although clearly attempting to influence them. The fate of the characters who survive is also left in the balance, but we can perhaps imagine what awaits them. [+]

Winning a raft of awards, not least of which four Oscars, including Best Picture and Best Director, Oliver Stone's Platoon was a box-office smash heralding Hollywood's second wave of Vietnam war films. Where predecessors The Deer Hunter (1978) and Apocalypse Now (1979) were elaborate epics, Platoon simply showed the daily reality of the war from the point of view of ordinary soldiers. Stone's own service in Vietnam gives his work a unique authenticity. Charlie Sheen gives his best performance to date, enduring a series of increasingly large-scale and bloody battles which retrospectively make one wonder why Saving Private Ryan was hailed as so new. Against this gruelling verity the film falters over the symbolic conflict between good and evil sergeants played by Willem Dafoe and Tom Berenger. Even though this was also based in real life, it strikes a too conventionally Hollywood-like note in a film which otherwise maintains much of the raw power of Stone's other film from 1986, Salvador. Johnny Depp fans should look out for an early appearance by the star. Stone would return to Vietnam with the more sophisticated Born on the Fourth of July (1989) and Heaven and Earth (1993). On the DVD: The 50-minute documentary "Tour of the Inferno" goes beyond the usual "making-of" to present a personal account both of the film and of Stone's own time in Vietnam. Likewise the two audio commentaries-one by Stone, the other by Captain Dale Dye, fellow veteran and military technical advisor-range between the making of the film and the degree to which the actors came to inhabit their parts, to their own wartime experiences. [+]