As the triumphant start of a trilogy, The Lord of the Rings: The Fellowship of the Ringleaves you begging for more. By necessity, Peter Jackson's ambitious epic compresses J.R.R. Tolkien's classic The Lord of the Rings, but this robust adaptation maintains reverent allegiance to Tolkien's creation, instantly qualifying as one of the greatest fantasy films ever made. At 178 minutes, it's long enough to establish the myriad inhabitants of Middle-earth, the legendary Rings of Power, and the fellowship of hobbits, elves, dwarves, and humans—led by the wizard Gandalf (Ian McKellen) and the brave hobbit Frodo (Elijah Wood)—who must battle terrifying forces of evil on their perilous journey to destroy the One Ring in the land of Mordor. Superbly paced, the film is both epic and intimate, offering astonishing special effects and production design while emphasizing the emotional intensity of Frodo's adventure. Ending on a perfect note of heroic loyalty and rich anticipation, this wondrous fantasy continues in The Two Towers(2002). —Jeff Shannon

Mel Brooks Mel Brooks's 1987 parody of the Star Wars trilogy is a jumble of jokes rather than a comic feature, and, predictably, some of those jokes work better than others. The cast, including Brooks in two roles, more or less mimics the principal characters from George Lucas's famous story line, and the director certainly gets a boost from new allies (SCTVgraduates Rick Moranis and John Candy) as well as old ones (Dick Van Patten, Dom DeLuise). Watch this and wait for the sporadic inspiration—but don't be surprised if you find yourself yearning for those years when Brooks was a more complete filmmaker (Young Frankenstein). —Tom Keogh

The imagination never flags in Episodes XIV-XXVI of Samurai Jack, Genndy Tartakovsky's Emmy-winning comedy-adventure. The artists skillfully employ design, color, and pattern to compliment the directors' use of deft cutting and split screen imagery. The resulting visuals are sharp, fresh, and appealing.

As Jack continues his quest to return to the past and destroy the evil shape-shifter Aku, the tone of the adventures shifts from dramatic to farcical and back again. In Episode XX, Jack proves his determination by climbing treacherous Mount Fatoom with three highly trained monks. The clerical trio consists of little more than pentagons with stylized faces, but their geometric simplicity plays effectively against the jagged facets of the mountain. The warriors who battle mechanical minotaurs in Episode XXV reflect the look of Greek vase paintings, filtered through the work of modern illustrators and graphic novelists. In lighter moments, Jack helps the Scotsman rescue his battleaxe of a bride from a nest of demons in Episode XVII, then plunges down a rabbit hole to visit a neon-bright Wonderland in Episode XXIV. That adventure reaches new heights of absurdity when Jack appears in drag as a princess.

The picaresque blend of comedy and adventure makes Samurai Jackone of the most significant cartoon series of recent years. Extras include a biography-scrapbook of Tartakovsky, a partial pitch for Episode XVII and a creators' commentary for Episode XXV. (Unrated, suitable for ages 10 and older: stylized violence, minor gross humor) —Charles Solomon

Chuck Jones Without a new cover or much fanfare, this new edition of the hallowed Christmas film has several additional extras. Best is TNT's 25-minute documentary from 1996. Phil Hartman hosts this easy-going look at the history and creation of Grinch. Composer Albert Hague and vocalist Thurl Ravenscroft are featured in more detail in a shorter featurette, "Songs in the Key of Grinch." The commentary by animator Phil Roman and voice actress June Foray (Cindy Low Who) is trivial. The quality of the digital enhancement is not as wonderful as expected. Color definition is better, as are the cuts between scenes. While some dirt has been cleaned up, the print is still not pristine by any means. —Doug Thomas

Ivan Reitman Bill Murray was heading toward a career peak on the back of comedies such as this one from 1981, the second film in his ongoing collaboration with director Ivan Reitman (the two went on to make Ghostbusters). Murray plays a chronic loser who joins the army and fails to find a fan for his ironic sensibilities in his by-the-book sergeant (Warren Oates). When push comes to shove, however, the smirking hero takes charge of his ragtag unit and turns them into fighting machines, albeit to the rhythm of hit songs by Manfred Mann and Sly Stone. The film is occasionally funny, but it mostly plays like any one of a dozen underachieving comedies featuring players from Saturday Night Liveand SCTV. —Tom Keogh

Created at least in part due to popular demand, Farscape: The Peacekeeper Warswill provide some closure to fans who were dismayed by the demise of the popular science fiction television show in 2003 and campaigned mightily to bring it back. Indeed, this miniseries (originally broadcast over two nights on the Sci-Fi Channel) will likely appeal primarily to the Farscapefaithful, as the somewhat convoluted storyline may prove baffling to the uninitiated.

A brief bit of backstory explains how John Crichton, an astronaut from Earth, went through a wormhole and ended up on Moya, a living spaceship, with a motley group of aliens, including D'Argo (Anthony Simcoe), Chiana (Gigi Edgley), various puppet characters (designed by the Jim Henson Company), and Aeryn (Claudia Black), Crichton's love interest, who's expecting their first child. As The Peacekeeper Warsbegins, our heroes find themselves in the middle of a war-to-end-all-wars between the lizard-like, implacably evil Scarrans and their rivals, the Peacekeepers. Crichton is the lynchpin in all of this, as his knowledge of "wormhole technology" is coveted by all, including his old nemesis Scorpius (Wayne Pygram), who captured and tortured Crichton back in season 1 and with whom Crichton must now form an uneasy alliance against the Scarrans.

Over the course of the three-hour miniseries, we get lots of weird- and cool-looking aliens, some nice sets and special effects, plenty of battles, and lots of portentous talk about the fate of the universe—nothing especially original, but all presented with outstanding production values. There's drama and action, love and betrayal, tragedy and triumph, war and, ultimately, peace, with a suitably spectacular ending (and a nod to Stanley Kubrick's 2001: A Space Odyssey). With a 30-minute "making of" documentary among the DVD special features, The Peacekeeper Warsis a fitting way to end the Farscapesaga. —Sam Graham

Len Wiseman

Phil Weinstein

Roland Emmerich Before they unleashed the idiotic mayhem of Independence Dayand Godzilla, the idea-stealing team of director Roland Emmerich and producer-screenwriter Dean Devlin concocted this hokey hit about the discovery of an ancient portal capable of zipping travelers to "the other side of the known universe." James Spader plays the Egyptologist who successfully translates the Stargate's hieroglyphic code, and then joins a hawkish military unit (led by Kurt Russell) on a reconnaissance mission to see what's on the other side. They arrive on a desert world with cultural (and apparently supernatural) ties to Earth's ancient Egypt, where the sun god Ra (played by Jaye Davidson from The Crying Game) rules a population of slaves with armored minions and startlingly advanced technology. After being warmly welcomed into the slave camp, the earthlings encourage and support a rebellion, and while Russell threatens to blow up the Stargate to prevent its use by enemy forces, the movie collapses into a senseless series of action scenes and grandiose explosions. It's all pretty ridiculous, but Stargatefound a large and appreciative audience, spawned a cable-TV series, and continues to attract science fiction fans who are more than willing to forgive its considerable faults. —Jeff Shannon

Series creator Genndy Tartakovsky has said, "The third season is always the toughest in television production," but episodes 27 through 39 of Samurai Jackshow no signs of flagging imagination. To the contrary, the Season 3 collection includes some of Jack's best adventures. In the outrageous episode 28, Aku turns teenagers into destructive zombies with rock music. Incongruously clad in hip-hop threads, Jack crashes a rave and defeats the sinister DJ in a wonderfully anachronistic mixture of break-dancing and martial arts kata. Tartakovsky and his artists won a well-deserved Emmy for the two-part "Birth of Evil," that traces the origins of Aku to a primordial, destructive cloud that Odin, Rama, and Ra destroyed. The same gods forged Jack's enchanted sword from human righteousness. The more dramatic stories are balanced against sillier tales: in episode 27, Jack gets turned into a chicken by an irritable wizard, and in episode 33, he has to deal with giant blue teddy bear-like creature, who has an unexpectedly nasty side.

The extras include storyboard artist/martial artist Brian Andrews explaining how the crew stylized Chinese Whu Shu and Wing Chun techniques for Jack's combat moves, a gallery of preliminary sketches, and a commentary on "Birth of Evil." It all adds up to a winning package. (Unrated, suitable for ages 10 and older: stylized violence, minor gross humor, grotesque imagery) —Charles Solomon

Francis Lawrence In the grand scheme of theological thrillers, Constantineaspires for the greatness of The Exorcistbut ranks more closely with The Order. Based on the popular Hellblazercomic book series, and directed with nary a shred of intelligence by music video veteran Francis Lawrence, it's basically The Matrixwith swarming demons instead of swarming machines. Keanu Reeves slightly modifies his Matrixpersona as John Constantine, who roams the dark-spots of Los Angeles looking for good-evil, angel-devil half-breeds to ensure that "the balance" between God and Satan is properly maintained. An ancient artifact and the detective twin of a woman who committed evil-induced suicide (Rachel Weisz) factor into the plot, which is taken so seriously that you'll want to stand up and cheer when Tilda Swinton swoops down as the cross-dressing angel Gabriel and turns this silliness into the camp-fest it really is. The digital effects are way cool (dig those hellspawn with the tops of their heads lopped off!), so if you don't mind a juvenile lesson in pseudo-Catholic salvation, Constantineis just the movie for you! —Jeff Shannon

Jay Roach "I put the grrr in swinger, baby!" a deliciously randy Austin Powers coos near the beginning of The Spy Who Shagged Me, and if the imagination of Austin creator Mike Myers seems to have sagged a bit, his energy surely hasn't. This friendly, go-for-broke sequel to 1997's Austin Powers: International Man of Mysteryfinds our man Austin heading back to the '60s to keep perennial nemesis Dr. Evil (Myers again) from blowing up the world—and, more importantly, to get back his mojo, that man-juice that turns Austin into irresistible catnip for women, especially American spygirl Felicity Shagwell (a pretty but vacant Heather Graham). The plot may be irreverent and illogical, the jokes may be bad (with characters named Ivana Humpalot and Robin Swallows, née Spitz), and the scenes may run on too long, but it's all delivered sunnily and with tongue firmly in cheek.

Myers's true triumph, though, is his turn as the neurotic Dr. Evil, who tends to spout the right cultural reference at exactly the wrong time (referring to his moon base as a "Death Star" with Moon Units Alpha and Zappa—in 1969). Myers teams Dr. Evil with a diminutive clone, Mini-Me (Verne J. Troyer), who soon replaces slacker son Scott Evil (Seth Green) as the apple of the doctor's eye; Myers and Troyer work magic in what could plausibly be one of the year's most affecting (and hysterically funny) love stories. Despite a stellar supporting cast—including a sly Rob Lowe as Robert Wagner's younger self and Mindy Sterling as the forbidding Frau Farbissina—it—it's basically Myers's show, and he pulls a hat trick by playing a third character, the obese and disgusting Scottish assassin Fat Bastard. Many viewers will reel in disgust at Mr. Bastard's repulsive antics and the scatological bent Myers indulges in, including one showstopper involving coffee and—shudder—a stool sample. Still, Myers's good humor and dead-on cultural references win the day; Austin is one spy who proves he can still shag like a minx. —Mark Englehart

Terry Gilliam Terry Jones Could this be the funniest movie ever made? By any rational measure of comedy, this medieval romp from the Monty Python troupe certainly belongs on the short list of candidates. According to Leonard Maltin's Movie & Video Guide, it's "recommended for fans only," but we say hogwash to that—you could be a complete newcomer to the Python phenomenon and still find this send-up of the Arthurian legend to be wet-your-pants hilarious. It's basically a series of sketches woven together as King Arthur's quest for the Holy Grail, with Graham Chapman as the King, Terry Gilliam as his simpleton sidekick Patsy, and the rest of the Python gang filling out a variety of outrageous roles. The comedy highlights are too numerous to mention, but once you've seen Arthur's outrageously bloody encounter with the ominous Black Knight (John Cleese), you'll know that nothing's sacred in the Python school of comedy. From holy hand grenades to killer bunnies to the absurdity of the three-headed knights who say "Ni—!,—!," this is the kind of movie that will strike you as fantastically funny or just plain silly, but why stop there? It's all over the map, and the pace lags a bit here and there, but for every throwaway gag the Pythons have invented, there's a bit of subtle business or grand-scale insanity that's utterly inspired. The sum of this madness is a movie that's beloved by anyone with a pulse and an irreverent sense of humor. If this movie doesn't make you laugh, you're almost certainly dead. —Jeff Shannon

Andrew Stanton Lee Unkrich It's not that the folks at Pixar are geniuses when it comes to DVDs... well, come to think of it, their fifth DVD set shows these folks are wizards. It's not just that the two discs are packed with watchable extras that hardly reiterate the same information; it's how they are handled—funny, inventive, with a light touch—unlike many PR-driven discs. A good place to start is the filmmakers' jolly commentary track, which branches off into 31 minutes of behind-the-scene stuff, deleted scenes, and curious anecdotes (they can also be watched separately). Pixar's first making-of documentary is a most concise and interesting 25-minute examination that also sheds light on how the company works. With a digital-to-digital transfer, the film looks great and is available in widescreen or reformatted to full screen. The "Family Fun" disc includes another Pixar made-for-the-DVD gem, the 7-minute "Exploring the Reef" with Jean-Michel Cousteau (Jacques's son) being upstaged by Dori and Marlin; it's a hoot and teaches a fact or two you will remember about reefs. Both discs feature lovely menus that can be turned into virtual aquariums for your TV (by removing the text) featuring the knockout colors of the film's settings. Watch long enough for some shenanigans from the film's characters and vocal talent. Genius, pure genius. —Doug Thomas

This updated compilation appends three of Sarah McLachlan's biggest Surfacinghits along with fan favorite "I Will Remember You" (from the Brothers McMullensoundtrack) to the 1994 video retrospective issued by Canadian label Nettwerk. It follows the Nova Scotian songstress from her days as a sentimental, round-faced youth through her breakthrough success on Fumbling Towards Ecstasyto the explosion of fame, thanks to Lilith Fair and the multiplatinum sales of Surfacing. The earliest of the collection clearly displays hints of great things to come, although viewing the pre-glory-days videos, half of which are alternating takes on Canadian and U.S. versions, is akin to checking out your coolest friend's high-school yearbook. Expecting the brilliance to which you are accustomed ("Building a Mystery,""Adia"), you instead learn that McLachlan herself struggled through some decidedly uncool artistic pretensions prior to connecting her vision to her work. A song from her 1988 album Touch, "Vox," is rendered post-new-wave cheesy (Canadian version) and aimless (U.S. version), and Solace's "The Path of Thorns (Terms)" features a nude McLachlan crooning in the shared space of a modern ballet couple. Despite a misguided turn at "Possession" (a nefarious mess of religious imagery), it is McLachlan who successfully guides the straight-ahead black and white performance of "Ben's Song" and also that of the Celtic-inspired "Drawn to the Rhythm," evoking Loreena McKennitt's smash hit "The Mummer's Dance." Yet it is the U.S. version of "Possession" on which we begin to see McLachlan as we have come to know her—dressed down, picking hard, and singing with eyes wide open. Fully connected to each other and the material, McLachlan and her band are filmed home-movie style in an otherwise empty theater space. As proven by McLachlan's magical turn on the Surfacingvideos, those seats wouldn't stay vacant for long. —Paige La Grone

Andy Wachowski Larry Wachowski Considering the lofty expectations that preceded it, The Matrix Reloadedtriumphs where most sequels fail. It would be impossible to match the fresh audacity that made The Matrixa global phenomenon in 1999, but in continuing the exploits of rebellious Neo (Keanu Reeves), Morpheus (Laurence Fishburne), and Trinity (Carrie-Anne Moss) as they struggle to save the human sanctuary of Zion from invading machines, the codirecting Wachowski brothers have their priorities well in order. They offer the obligatory bigger and better highlights (including the impressive "Burly Brawl" and freeway chase sequences) while remaining focused on cleverly plotting the middle of a brain-teasing trilogy that ends with The Matrix Revolutions. The metaphysical underpinnings can be dismissed or scrutinized, and choosing the latter course (this is, after all, an epic about choice and free will) leads to astonishing repercussions that made Reloadedan explosive hit with critics and hardcore fans alike. As the centerpiece of a multimedia franchise, this dynamic sequel ends with a cliffhanger that virtually guarantees a mind-blowing conclusion. —Jeff Shannon

Chuck Russell Sometimes it's hard to tell if The Mask(or Jim Carrey's in-your-face mugging in general) is actually funny, or just bizarre and grotesque. And sometimes it just doesn't matter. Carrey plays a shy, Jerry Lewis-like nerd who discovers an ancient mask that magically transforms him into a green-faced, zoot-suited Tex Avery cartoon character with no inhibitions. As Roger Ebert said of Carrey in Ace Ventura: Pet Detective, the actor performs "as if he's being clocked on an Energy-O-Meter, and paid by the calorie expended." If that's your kind of humor, you'll love The Mask; if not, you may need a valium or two to sit through this one. Digital video disc extras include two deleted scenes and a commentary track from director Charles Russell. —Jim Emerson

Sam Raimi For devoted fans and nonfans alike, Spider-Manoffers nothing less—and nothing more—than what you'd expect from a superhero blockbuster. Having proven his comic-book savvy with the original Darkman, director Sam Raimi brings ample energy and enthusiasm to Spidey's origin story, nicely establishing high-school nebbish Peter Parker (Tobey Maguire) as a brainy outcast who reacts with appropriate euphoria—and well-tempered maturity—when a "super-spider" bite transforms him into the amazingly agile, web-shooting Spider-Man. That's all well and good, and so is Kirsten Dunst as Parker's girl-next-door sweetheart. Where Spider-Manfalls short is in its hyperactive CGI action sequences, which play like a video game instead of the gravity-defying exploits of a flesh-and-blood superhero. Willem Dafoe is perfectly cast as Spidey's schizoid nemesis, the Green Goblin, and the movie's a lot of fun overall. It's no match for Supermanand Batmanin bringing a beloved character to the screen, but it places a respectable third. —Jeff Shannon

Guillermo del Toro In the ongoing deluge of comic-book adaptations, Hellboyranks well above average. Having turned down an offer to helm Harry Potter and the Prisoner of Azkabanin favor of bringing Hellboy's origin story to the big screen, the gifted Mexican director Guillermo del Toro compensates for the excesses of Blade IIwith a moodily effective, consistently entertaining action-packed fantasy, beginning in 1944 when the mad monk Rasputin—in cahoots with occult-buff Hitler and his Nazi thugs—opens a transdimensional portal through which a baby demon emerges, capable of destroying the world with his powers. Instead, the aptly named Hellboy is raised by the benevolent Prof. Bloom, founder of the Bureau for Paranormal Research and Defense, whose allied forces enlist the adult Hellboy (Ron Perlman, perfectly cast) to battle evil at every turn. While nursing a melancholy love for the comely firestarter Liz (Selma Blair), Hellboy files his demonic horns ("to fit in," says Bloom) and wreaks havoc on the bad guys. The action is occasionally routine (the movie suffers when compared to the similar X-Menblockbusters), but del Toro and Perlman have honored Mike Mignola's original Dark Horse comics with a lavish and loyal interpretation, retaining the amusing and sympathetic quirks of character that made the comic-book Hellboy a pop-culture original. He's red as a lobster, puffs stogies like Groucho Marx, and fights the good fight with a kind but troubled heart. What's not to like? —Jeff Shannon

With The Return of the King, the greatest fantasy epic in film history draws to a grand and glorious conclusion. Director Peter Jackson's awe-inspiring adaptation of the Tolkien classic The Lord of the Ringscould never fully satisfy those who remain exclusively loyal to Tolkien's expansive literature, but as a showcase for physical and technical craftsmanship it is unsurpassed in pure scale and ambition, setting milestone after cinematic milestone as the brave yet charmingly innocent Hobbit Frodo (Elijah Wood) continues his mission to Mordor, where he is destined to destroy the soul-corrupting One Ring of Power in the molten lava of Mount Doom. While the heir to the kingdom of Men, Aragorn (Viggo Mortensen), endures the massive battle at Minas Tirith with the allegiance of the elf Legolas (Orlando Bloom), the dwarf Gimli (John Rhys-Davies) and the great wizard Gandalf (Ian McKellen), Frodo and stalwart companion Samwise Gamgee (Sean Astin) must survive the schizoid deceptions of Gollum, who remains utterly convincing as a hybrid of performance (by Andy Serkis) and subtly nuanced computer animation.

Jackson and cowriters Fran Walsh and Philippa Boyens have much ground to cover; that they do so with intense pacing and epic sweep is impressive enough, but by investing greater depth and consequence in the actions of fellow Hobbits Merry (Dominic Monaghan) and Pippin (Billy Boyd), they ensure that The Return of the Kingmaintains the trilogy's emphasis on intimate fellowship. While several major characters appear only briefly, and one (Christopher Lee's evil wizard, Saruman) was relegated entirely to the extended-version DVD, Jackson is to be commended for his editorial acumen; like Legolas the archer, his aim as a filmmaker is consistently true, and he remains faithful to Tolkien's overall vision. If Returnsuffers from too many endings, as some critic suggested, it's only because the epic's conclusion is so loyally inclusive of the actors—most notably Astin—who gave it such strength to begin with. By ending the LOTRtrilogy with noble integrity and faith in the power of imaginative storytelling, The Return of the King, like its predecessors, will stand as an adventure for the ages. —Jeff Shannon

Bryan Singer

When Samurai Jackburst onto the small screen in 2001, it introduced a boldly imaginative visual style to the often dreary realm of television animation. Other series have tried to imitate the flattened, angular graphics pioneered by the UPA studio during early '50s. Samurai Jacksucceeds in recapturing the essence of the UPA shorts because creator Genndy Tartakovsky and his artists understand that these highly stylized visuals require equally stylized movements.

The ongoing battle between heroic Jack and the evil shape-shifter Aku simultaneously evokes and spoofs the conventions of anime and Western live-action film. Long ago, Jack nearly destroyed Aku in a duel; in desperation, the wizard hurled the samurai far into the future, where Aku's word is law. Jack fights robots, monsters, bounty hunters, etc. as he seeks to return to his own time, so he can prevent Aku's rise to supremacy.

The writing is sometimes uneven, but even when the material feels weak, the visual imagination never falters, from the flamboyant character designs to the use of split-screen. The filmmakers stage the quiet moments as skillfully as the action sequences, and Samurai Jackoffers more exciting storytelling than many big-budget animated features. (Unrated: suitable for ages 10 and older: stylized violence, occasional profanity) —Charles Solomon

Christopher Nolan Batman Beginsdiscards the previous four films in the series and recasts the Caped Crusader as a fearsome avenging angel. That's good news, because the series, which had gotten off to a rousing start under Tim Burton, had gradually dissolved into self-parody by 1997's Batman & Robin. As the title implies, Batman Beginstells the story anew, when Bruce Wayne (Christian Bale) flees Western civilization following the murder of his parents. He is taken in by a mysterious instructor named Ducard (Liam Neeson in another mentor role) and urged to become a ninja in the League of Shadows, but he instead returns to his native Gotham City resolved to end the mob rule that is strangling it. But are there forces even more sinister at hand?

Co-written by the team of David S. Goyer (a veteran comic book writer) and director Christopher Nolan (Memento), Batman Beginsis a welcome return to the grim and gritty version of the Dark Knight, owing a great debt to the graphic novels that preceded it. It doesn't have the razzle dazzle, or the mass appeal, of Spider-Man 2(though the Batmobile is cool), and retelling the origin means it starts slowly, like most "first" superhero movies. But it's certainly the best Bat-film since Burton's original, and one of the best superhero movies of its time. Bale cuts a good figure as Batman, intense and dangerous but with some of the lightheartedness Michael Keaton brought to the character. Michael Caine provides much of the film's humor as the family butler, Alfred, and as the love interest, Katie Holmes (Dawson's Creek) is surprisingly believable in her first adult role. Also featuring Gary Oldman as the young police officer Jim Gordon, Morgan Freeman as a Q-like gadgets expert, and Cillian Murphy as the vile Jonathan Crane. —David Horiuchi

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Peter Jackson

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Andy Wachowski Larry Wachowski Despite the inevitable law of diminishing returns, The Matrix Revolutionsis quite satisfying as an adrenalized action epic, marking yet another milestone in the exponential evolution of computer-generated special effects. That may not be enough to satisfy hardcore Matrixfans who turned the Wachowski Brothers' hacker mythology into a quasi-religious pop-cultural phenomenon, but there's no denying that the trilogy goes out with a cosmic bang instead of the whimper that many expected. Picking up precisely where The Matrix Reloadedleft off, this 130-minute finale finds Neo (Keanu Reeves) at a virtual junction, defending the besieged human enclave of Zion by confronting the attacking machines on their home turf, while humans combat swarms of tentacled mechanical sentinels as Zion's fate lies in the balance. It all amounts to a blaze of CGI glory, devoid of all but the shallowest emotions, and so full of metaphysical hokum that the trilogy's detractors can gloat with I-told-you-so sarcasm. And yet, Revolutionsstill succeeds as a slick, exciting hybrid of cinema and video game, operating by its own internal logic with enough forward momentum to make the whole trilogy seem like a thrilling, magnificent dream. — Jeff Shannon

John Frankenheimer Light on story, this 1966 spectacle directed by John Frankenheimer was shot in 70 millimeter, with a cinematically enthralling emphasis on unique, visceral new ways of capturing the sensations of a car race. James Garner, Eva Marie Saint, Yves Montand, and Toshiro Mifune are part of the stellar, international cast whose characters plod through assorted relationship and business conflicts. But the film's real hook is the thrilling and inventive means by which Frankenheimer (The Manchurian Candidate) brings an urgency to the drama happening on the racetrack. A true master of the plastic techniques of obtaining and cutting kinetic footage, Frankenheimer offers more than a joyride to viewers: he makes action part of the compelling language of stories. Cameras are strapped to vehicles as they round the track, shots are taken from a helicopter, the screen is split between angles for maximum impact—even if Grand Prixdoesn't rank among the director's best character-driven stories, it is certainly driven on its own terms. —Tom Keogh

The Lord of the Rings: The Two Towersis a seamless continuation of Peter Jackson's epic fantasy based on the works of J.R.R. Tolkien. After the breaking of the Fellowship, Frodo (Elijah Wood) and Sam (Sean Astin) journey to Mordor to destroy the One Ring of Power with the creature Gollum as their guide. Meanwhile, Aragorn (Viggo Mortensen), Legolas (Orlando Bloom), and Gimli (John Rhys-Davies) join in the defense of the people of Rohan, who are the first target in the eradication of the race of Men by the renegade wizard Saruman (Christopher Lee) and the dark lord Sauron. Fantastic creatures, astounding visual effects, and a climactic battle at the fortress of Helm's Deep make The Two Towersa worthy successor to The Fellowship of the Ring, grander in scale but retaining the story's emotional intimacy. These two films are perhaps the greatest fantasy films ever made, but they're merely a prelude to the cataclysmic events of The Return of the King. —David Horiuchi

Ron Clements John Musker Disney's 1992 animated feature 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

Mark Neale Even if you've never witnessed the intensity of MotoGP motorcycle racing, Fasterwill take your breath away. It's a perfect primer for newcomers, offering a comprehensive survey of the fastest sport on two wheels, and it's guaranteed to satisfy hardcore fans with its detailed history, profiles of the top riders from the 2001-02 seasons, highlights of spectacular crashes and unforgettable races, and a veritable feast of the best MotoGP cinematography you're ever likely to see. From front-and-rearview cycle cameras to swooping overhead track coverage, filmmaker Mark Neale immerses the viewer in the MotoGP experience, enhancing the adrenaline-pumping visuals with expert interviews and commentary (and cool, low-key narration by globetrotting cycle-lover Ewan McGregor) that any sportswriter would consider authoritative.

Literally and figuratively, a lot of ground gets covered: From Kenny Roberts and the late Barry Sheene discussing their innovative knee-dragging styles and the origins of rear-wheel steering to the colorful rivalry of Max Biaggi and reigning champion Valentino Rossi (including Biaggi's infamous "Elbow Incident" at Suzuka in 2001), Fasternever loses sight of the human element that makes this ultra-dangerous sport so fascinating. Track physician "Dr. Costa" is profiled (and offers some eloquently philosophical thoughts about MotoGP riders), along with innovative rider Garry McCoy (plagued by injuries); former champion Wayne Rainey (now paraplegic and active in kart-racing); young prodigy John Hopkins in his rookie season; and several other prominent figures in the world of MotoGP.

The bonus disc includes Faster & Faster, a sequel covering the 2003 and 2004 seasons, which saw the rise of the 500cc 4-stroke engine (and speeds in excess of 215 mph), Ducati's dominance and trend-setting removal of engine silencers (to boost power); Rossi's move to Yamaha; the fatal crash of Daijiro Kato; the victories of Sete Gibernau; and the rookie debuts of Neil Hodgson, Ruben Xaus, and Shane Byrne. Through it all, Fasterand its sequel serve as the ultimate guide to MotoGP, certain to inspire future champions and armchair fans alike. —Jeff Shannon

Spider-Man takes on Dr. Octopus, the Kingpin, and the Green Goblin, and takes us on a flashback trip to his origins for good measure, in this four-episode arc from the third season of the 1990s animated series. These web-slinging moral tales have none of Batman's sleek style, and the breathless pacing doesn't quite make up for the awkward animation and pedestrian writing, but the episodes are bright, busy, and action packed. —Sean Axmaker

Mamoru Oshii The skillful blending of drawn animation and computer-generated imagery excited anime fans when this science fiction mystery was released in 1995: many enthusiasts believe Ghostsuggests what the future of anime will be, at least in the short term. The film is set in the not-too-distant future, when an unnamed government uses lifelike cyborgs or "enhanced" humans for undercover work. One of the key cyborgs is The Major, Motoko Kusanagi, who resembles a cross between The Terminator and a Playboy centerfold. She finds herself caught up in a tangled web of espionage and counterespionage as she searches for the mysterious superhacker known as "The Puppet Master."

Mamoru Oshii directs with a staccato rhythm, alternating sequences of rapid-fire action (car chases, gun battles, explosions) with static dialogue scenes that allow the characters to sort out the vaguely mystical and rather convoluted plot. Kusanagi's final quote from I Corinthians suggests that electronic evolution may compliment and eventually supplant organic evolution. The minor nudity, profanity, and considerable violence would earn Ghost in the Shellat least a PG rating. —Charles Solomon

Larry Wachowski Andy Wachowski Some DVD players may experience technical difficulties while playing the MatrixDVD. The disc itself is notaffected. For more information, go to the following URL: http://www.pcfriendly.com/support/title/matrix/

Victor A. Cook

As the 2005 theatrical release of Serenitymade clear, Firelywas a science fiction concept that deserved a second chance. Devoted fans (or "Browncoats") knew it all along, and with this well-packaged DVD set, those who missed the show's original broadcasts can see what they missed. Creator Joss Whedon's ambitious science-fiction Western (Whedon's third series after Buffy the Vampire Slayerand Angel) was canceled after only 11 of these 14 episodes had aired on the Fox network, but history has proven that its demise was woefully premature. Whedon's generic hybrid got off to a shaky start when network executives demanded an action-packed one-hour premiere ("The Train Job"); in hindsight the intended two-hour pilot (also titled "Serenity," and oddly enough, the final episode aired) provides a better introduction to the show's concept and splendid ensemble cast. Obsessive fans can debate the quirky logic of combining spaceships with direct parallels to frontier America (it's 500 years in the future, and embattled humankind has expanded into the galaxy, where undeveloped "outer rim" planets struggle with the equivalent of Old West accommodations), but Whedon and his gifted co-writers and directors make it work, at least well enough to fashion a credible context from the incongruous culture-clashing of past, present, and future technologies, along with a polyglot language (the result of two dominant superpowers) that combines English with an abundance of Chinese slang.

What makes it work is Whedon's delightfully well-chosen cast and their nine well-developed characters—a typically Whedon-esque extended family—each providing a unique perspective on their adventures aboard Serenity, the junky but beloved "Firefly-class" starship they call home. As a veteran of the disadvantaged Independent faction's war against the all-powerful planetary Alliance (think of it as Underdogs vs. Overlords), Serenitycaptain Malcolm Reynolds (Nathan Fillion) leads his compact crew on a quest for survival. They're renegades with an amoral agenda, taking any job that pays well, but Firefly's complex tapestry of right and wrong (and peace vs. violence) is richer and deeper than it first appears. Tantalizing clues about Blue Sun (an insidious mega-corporation with a mysteriously evil agenda), its ties to the Alliance, and the traumatizing use of Serenity's resident stowaway (Summer Glau) as a guinea pig in the development of advanced warfare were clear indications Fireflywas heading for exciting revelations that were precluded by the series' cancellation. Fortunately, the big-screen Serenity(which can be enjoyed independently of the series) ensured that Whedon's wild extraterrestrial west had not seen its final sunset. Its very existence confirms that these 14 episodes (and enjoyable bonus features) will endure as irrefutable proof Fox made a glaring mistake in canceling the series. —Jeff Shannon

Bryan Singer Ten minutes of X-Mendeleted scenes (most of them superfluous) are viewable separately or integrated into the complete film, with an onscreen symbol to mark when a deleted scene has been inserted. "The Mutant Watch" is a 23-minute promotional featurette originally broadcast on Fox TV at the time of the film's release, and combines interview clips with a "mockumentary" news profile of Senator Kelly (Bruce Davison) and his campaign to promote "mutant registration." Excerpts from Charlie Rose's interview with director Bryan Singer are worthwhile but too brief: the entire interview should have been included. Hugh Jackman's screen test (with costar Anna Paquin) provides an interesting glimpse of the casting process. The DVD's features are rounded out by a standard variety of production and costume sketches, two computer-generated "animatics" showing the preparation of action sequences, plus TV spots and theatrical trailers. —Jeff Shannon

Joss Whedon Serenityoffers perfect proof that Fireflydeserved a better fate than premature TV cancellation. Joss Whedon's acclaimed sci-fi Western hybrid series was ideally suited (in Browncoats, of course) for a big-screen conversion, and this action-packed adventure allows Whedon to fill in the Fireflybackstory, especially the history and mystery of the spaceship Serenity's volatile and traumatized stowaway, River Tam (Summer Glau). Her lethal skills as a programmed "weapon" makes her a coveted prize for the power-hungry planetary Alliance, represented here by an Operative (Chiwetel Ejiofor) who'll stop at nothing to retrieve River from Serenity's protective crew. We still get all the quip-filled dialogue and ass-kicking action that we've come to expect from the creator of Buffy the Vampire Slayer, but Whedon goes a talented step further here, blessing his established ensemble cast with a more fully-developed dynamic of endearing relationships (including the heartbreaking deaths of two major characters). Serenity's cast is led with well-balanced depth and humor by Nathan Fillion as Captain Mal Reynolds, whose maverick spirit is matched by his devotion to crewmates Wash (Alan Tudyk), Zoe (Gina Torres), fun-loving fighter Jayne (Adam Baldwin), engineer Kaylee (Jewel Staite), doctor Simon (Sean Maher), and Mal's former flame Inara (Morena Baccarin), who plays a pivotal role in Whedon's briskly-paced plot. As many critics agreed, Serenityoffered all the fun and breezy excitement that was missing from George Lucas's latter-day Star Warsepics, and Whedon leaves an opening for a continuing franchise that never feels cheap or commercially opportunistic. With the mega-corporate mysteries of Blue Sun yet to be explored, it's a safe bet we haven't seen the last of the good ship Serenity. —Jeff Shannon

Like Carriebefore it, Ginger Snapsuses horror-movie conventions as an inspired metaphor for puberty. When beautiful but reclusive goth teenager Ginger (Katharine Isabelle) is attacked by a monstrous wolf on the eve of her first period, her body starts changing in a big way, as do her suddenly lusty, feral appetites. Director John Fawcett masterfully balances the expectations of teen horror exploitation (blood, bodies, sex, smart dialogue, and good old-fashioned monster-movie scares) with clever black humor and tender sisterly solidarity. Only devoted sister Brigitte (gloomy Emily Perkins) knows the truth, and even as Ginger's abrupt transformation threatens their once unbreakable friendship, bonds of blood and love keep them together: Brigitte disposes of Ginger's victims while searching for a cure. Mimi Rogers costars as their dotty but unexpectedly sensitive mom, ready to sacrifice all to protect her daughter. Blood and blood ties have never been more evocative. —Sean Axmaker

Bradley Raymond The Lion King 1½is an ingenious sequel that retells the original film's story from the perspective of best pals Timon the meerkat (voiced by Nathan Lane) and Pumbaa the warthog (Ernie Sabella). Anyone who has wondered how this odd couple met will find out here, beginning with Timon's flight from home following disgrace and his chance encounter with the sweet but lonely Pumbaa. With the arrival of young Simba (Shaun Flemming), The Lion King's familiar tale is reborn via a fresh angle, fleshed out by returning characters Rafiki the wise monkey (Robert Guillaume), Shenzi (Whoopi Goldberg), and Simba's love interest, Nala (Moira Kelly). While the retooled narrative proves a novel experience, The Lion King 1½is really a vehicle for voice actors Lane and Sabella, whose comic performances are shamelessly, broadly funny. Matthew Broderick, Julie Kavner, and Jerry Stiller are also in the vocal cast. —Tom Keogh

Chris Sanders Dean DeBlois Warm, funny, and imaginative, Lilo & Stitchis the best animated feature the Walt Disney Studios have produced in years. On the planet Turo, mad scientist Jumba Jookiba (voice by David Ogden Stiers) has created a miniature monster programmed for destruction. When the monster escapes to Earth, it's adopted as a pet and named "Stitch" by Lilo (Daveigh Chase), a lonely little Hawaiian girl. Lilo and her older sister Nani (Tia Carrere) have been struggling to stay together since their parents died. Stitch and Lilo share some hilarious adventures, evading welfare officer Cobra Bubbles (Ving Rhames) and galactic police agents. They learn the timely lesson that a family can be something you're born into—or something you assemble. A warmth and sincerity that recall The Iron Giantand the films of Hiyao Miyazaki make Liloa delightful fantasy adults and children can truly enjoy together. —Charles Solomon

Clint Eastwood Winner of four Academy Awards, including best picture, director, supporting actor and best editing, Clint Eastwood's 1992 masterpiece stands as one of the greatest and most thematically compelling Westerns ever made. "The movie summarised everything I feel about the Western," said Eastwood at the time of the film's release. "The moral is the concern with gunplay." To illustrate that theme, Eastwood stars as a retired, once-ruthless killer-turned-gentle-widower and hog farmer. He accepts one last bounty-hunter mission—to find the men who brutalised a prostitute—to help support his two motherless children. Joined by his former partner (Morgan Freeman) and a cocky greenhorn (Jaimz Woolvett), he takes on a corrupt sheriff (Oscar winner Gene Hackman) in a showdown that makes the viewer feel the full impact of violence and its corruption of the soul. Dedicated to Eastwood's mentors Sergio Leone and Don Siegel and featuring a colourful role for Richard Harris, Unforgivenis arguably Eastwood's crowning directorial achievement. —Jeff Shannon

Joe Ahearne In a new twist on an old theme, the coolly stylish British miniseries Ultravioletbrings vampires into the 21st century, though the word vampireis never uttered in this mix of The X-Filesand somber British TV mysteries like Touching Evil. Jack Davenport is a police detective who stumbles into an elite government agency when his partner and best friend suddenly becomes a nocturnal thug and bites him on the neck. Davenport reluctantly cuts off his old friends and lovers to join the team, which includes Idris Elba as a merciless ex-soldier and Susannah Harker as a medical researcher, and investigate a web of counterfeiting operations, banking scams, and experimental labs featuring human guinea pigs. "What they're researching is pollution: contamination of their blood supply," offers team leader and former priest Philip Quast, but the question remains: are they soulless monsters out to conquer mankind, or a persecuted minority who just want to live in peace with the humans?

Writer-director-creator Joe Ahearne brings all the traditional vampire tropes up to date; not only do they lack reflections in a mirror, but they don't show up on video and their voices don't carry over phone lines or record on audio tapes ("which makes surveillance a bitch"). Sunlight burns like an acid, and when they die they go up like a flare, leaving a pile of ash in their wake. But it's the sharp character writing, moral quandaries, and ingenious twists of this smart, stylish conspiracy thriller that make this series gripping down to the final episode.

The two-disc DVD set features an audio interview with Ahearne along with episode synopses and character notes. —Sean Axmaker