Director Gillo Pontecorvo's 1966 movie The Battle of Algiers concerns the violent struggle in the late 1950s for Algerian independence from France, where the film was banned on its release for fear of creating civil disturbances. Certainly, the heady, insurrectionary mood of the film, enhanced by a relentlessly pulsating Ennio Morricone soundtrack, makes for an emotionally high temperature throughout. With the advent of the "war against terror" in recent years, the film's relevance has only intensified. Shot in a gripping, quasi-documentary style, The Battle of Algiers uses a cast of untrained actors coupled with a stern voiceover. Initially, the film focuses on the conversion of young hoodlum Ali La Pointe (Brahim Haggiag) to FLN (the Algerian Liberation Front. ) However, as a sequence of outrages and violent counter-terrorist measures ensue, it becomes clear that, as in Eisenstein's October, it is the Revolution itself that is the true star of the film. Pontecorvo balances cinematic tension with grimly acute political insight. He also manages an even-handedness in depicting the adversaries. He doesn't flinch from demonstrating the civilian consequences of the FLN's bombings, while Colonel Mathieu, the French office brought in to quell the nationalists, is played by Jean Martin as determined, shrewd and, in his own way, honourable man. However, the closing scenes of the movie-a welter of smoke, teeming street demonstrations and the pealing white noise of ululations-leaves the viewer both intellectually and emotionally convinced of the rightfulness of the liberation struggle. [+]

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 platoon, led by Tom Hanks, 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: This DTS edition of Saving Private Ryan presents the movie with astonishingly vivid surround sound that is audibly superior to the standard Dolby Digital version. With a wider dynamic range and a more spacious soundfield, the battles really do spill over into your living room. There are new animated menus but because the DTS data stream requires greater space on the disc, the 30-minute behind-the-scenes documentary included on the previous release is omitted. [+]

Based on real events, Soldier of Orange tells the story of Dutchman Erik Lanshof (a star-making performance by Rutger Hauer) and a small group of students as they struggle to survive the Nazi occupation to the end of the Second World War. The destinies of the characters range from joining the German army to making for England, the OSS and the Resistance. Across a canvas lasting almost three hours director Paul Verhoeven unfolds a saga of friendship, espionage and romance with almost documentary realism-though not as graphically violent as his later American films the torture scenes are intense-crafting a deeply affecting film widely regarded as the greatest ever made in Holland. Comparable recent films such as Enigma (2001) and Charlotte Gray (2002) do not come close. Hauer is brilliant at the heart of what is a detailed and thoughtful drama made with integrity and passion. Co-star Jeroen Krabbé has gone onto a notable career in Hollywood, while Edward Fox and Susan Penhaligon provide more familiar faces for British audiences. The film is shot in Dutch, German and English and subtitled as necessary. Twenty years later Verhoeven made Starship Troopers in 1997, a satirical science-fiction companion to this modern European classic. -Gary S Dalkin.

Director Robert Wise chose to film Robert McKenna's award-winning novel The Sand Pebbles as his follow-up to the success of The Sound of Music. Shot in Taiwan and Hong Kong, the film combines historical sweep and intimate human drama in several parallel stories, all revolving around US Navy machinist's mate Jake Holman (Steve McQueen), a skilful but fiercely independent sailor who joins the "sand pebble" crew of the USS San Pablo, a Navy gunboat patrolling the Yangtze River on the eve of the Chinese revolution in 1926. The San Pablo's inexperienced captain (Richard Crenna) obsessively defends the Navy's mission-however unnecessary or unwanted-to protect American missionaries and businessmen, blind to the more dangerous implications of American involvement with China's opposing political factions. Holman is a defiant voice of humanity in this clash between outmoded values and inevitable change; his final line of dialogue ("What the hell happened?") is a tragic summation of misguided policy, expressing the film's criticism of the Vietnam War. Rather than preach, however, Wise lets McKenna's potent drama emerge from finely drawn relationships: between Holman and a young American teacher (19-year-old Candice Bergen, in her second film); between Holman and the Chinese "coolie" (Mako), whose heart-breaking fate transcends all issues of racial or political difference; and between crewmate "Frenchy" Burgoyne (Richard Attenborough) and the Chinese woman he's sworn to love and protect at all costs. Combined with the film's colourful supporting cast, adventurous scope, and climactic battle scenes, these personal dynamics bring substance and spirit to a complex story of good intentions gone awry. -Jeff Shannon, Amazon. com.

The images of Asif Kapadia's first feature film, The Warrior, sear themselves in the mind: the warrior practising with his sword in front of a half-alive tree, or a close-up of a scorpion scuttling across the desert as a camel cart goes by. Restrained beauty pervades the film in the choice of locations, costumes and the framing of each shot, but those unaccustomed to art cinema will feel the absence of story in this visual, mystical odyssey which uses few words, as looks and images carry the film. Irfan Khan brings a quiet, powerful presence of haunting intensity to the role an Indian "samurai", seemingly a homage to Kurosawa. The warrior has an epiphany after a bloodthirsty encounter that leads him to abandon his life in the desert and head for the pure snows of the Himalayas. This film (that repays repeat viewing and introduces major new talent) is likely to become a landmark. On the DVD: The Warrior's picture quality on disc does justice to the film and the extras are rewarding. The young director is sincere and reflective, as shown in his scene-by-scene commentary and on the deleted material, the latter lasting over an hour. The making of documentary is absorbing. -Rachel Dwyer.