The film version of Nick Hornby's novel About a Boy takes a deeper though no less entertaining approach than the easy laughs of Fever Pitch and High Fidelity. The "coming together" of idle playboy Will (Hugh Grant) and put-upon loner Marcus (Nicholas Hoult) is a revealing tale of self-understanding and role reversal. Will finds that being yourself is of little consequence without a defining human context, while Marcus finds that pleasing others counts for little without a degree of self-confidence. How they arrive at this complementary awareness is the intriguing subject matter of the film, involving well-meaning single mothers, difficult adolescents and helpless older adults. Yet there's a wider significance to all this in the guise of human stereotypes—how we fall into them and how we can try to get out of them.

The film's wit and amusement comes down to deft and understated directing from Chris and Paul Weitz, and a snappily crafted screenplay from Peter Hedges and the Weitz brothers. Grant clips his hair as well as his vowels for a believable and ultimately sympathetic Will—by far his best performance since Four Weddings and a Funeral. As Marcus, Hoult is convincingly self-dependent, but could have been even more self-absorbed. Toni Colette is a dead-ringer for the well-meaning but ineffectual hippie mother Fiona, while Rachel Weisz gives her best screen performance to date as the attractive and vulnerable Rachel, with whom Will comes of age emotionally. Badly Drawn Boy's soundtrack will delight those who enjoy his brand of reconstituted 1970s Dylan; the title track has a wistful charm and there's a gem of an instrumental in the "Countdown" sequence. About a Boy is in the best traditions of British comedy: enlightening as it amuses, it's a film to enjoy and come back to. —Richard Whitehouse

By transplanting the classic haunted house scenario into space, Ridley Scott, together with screenwriters Dan O'Bannon and Ronald Shusett, produced a work of genuinely original cinematic sci-fi with Alien that, despite the passage of years and countless inferior imitations, remains shockingly fresh even after repeated viewing. Scott's legendary obsession with detail ensures that the setting is thoroughly conceived, while the Gothic production design and Jerry Goldsmith's wonderfully unsettling score produce a sense of disquiet from the outset: everything about the spaceship Nostromo—from Tupperware to toolboxes-seems oddly familiar yet disconcertingly ... well, alien.

Nothing much to speak of happens for at least the first 30 minutes, and that in a way is the secret of the film's success: the audience has been nervously peering round every corner for so long that by the time the eponymous beast claims its first victim, the release of pent-up anxiety is all the more effective. Although Sigourney Weaver ultimately takes centre-stage, the ensemble cast is uniformly excellent. The remarkably low-tech effects still look good (better in many places than the CGI of the sequels), while the nightmarish quality of H.R. Giger's bio-mechanical creature and set design is enhanced by camerawork that tantalises by what it doesn't reveal.

On the DVD: The director, audibly pausing to puff on his cigar at regular intervals, provides an insightful commentary which, in tandem with superior sound and picture, sheds light into some previously unexplored dark recesses of this much-analysed, much-discussed movie (why the crew eat muesli, for example, or where the "rain" in the engine room is coming from). Deleted scenes include the famous "cocoon" sequence, the completion of the creature's insect-like life-cycle for which cinema audiences had to wait until 1986 and James Cameron's Aliens. Isolated audio tracks, a picture gallery of production artwork and a "making of" documentary complete a highly attractive DVD package. —Mark Walker

James Cameron's Aliens digests all the virtues of Alien and regurgitates them bigger, louder and brasher than before. By the simple expedient of turning the singular beast of the original into a plural, Cameron transforms the franchise's focus from horror to all-out action. Sigourney Weaver's Ripley—one of the strongest roles for a female lead in mainstream cinema—is centre-stage throughout, more than able to hold her own either among the butch Marines and insectoid aliens. Although the director later revealed that there were only ever six alien costumes in any one shot, rapid-fire editing makes it seem like hundreds. Aliens is one of the most dynamic, viscerally exciting movies of the decade and, as a bug-fest, remained unsurpassed until the glorious Starship Troopers in 1997.

On the DVD: The Director's Cut reinstates 17 crucial minutes of footage deleted from the theatrical release. It reveals how the colony on LV-426 encountered the aliens, and more importantly why Ripley's maternal bond with Newt is so strong, which adds an extra dimension to the film's climax. Also included is a short, fairly bland interview with James Cameron, recorded at the time of the cinema release, as well as some background explanation on how specific special effects were created. Unlike the Alien disc, there is no directorial commentary. —Mark Walker

With its use of special effects to express the main character's internal emotions, Jean-Pierre Jeunet's Amelie could have been mistaken for a French version of Ally McBeal; however, unlike Ally——"woe is me for I cannot find a man"—McBeal, Amelie is not distressed by the lack of men in her life, in fact the whole idea of sex seems to amuse her no end. Basic pleasures such as cracking the top of a Crème Brule offer her all the sensual satisfaction she needs and her existence in the "Paris of Dreams" is the stuff of fairy tales. Indeed, this cinematic treat must have worked wonders for the Paris tourist board: Jeunet's beautiful interpretation of Parisian life is depicted in all the vibrant colours you would expect from the director of Delicatessen.

On the DVD:Amelie has received an additional disc for this special edition release. Disc 1 is the same as the original single-disc release, with a choice of DTS or Dolby 5.1 sound and an 16.9 anamorphic widescreen picture with optional director's commentary. The second disc contains the new special features and, just like original disc, a lot of thought has gone into the access menu with its lavish graphics offering the choice of entering the Café, the Canal or the Station. Yet the most exciting extra in name——"Audrey Tautou's funny face"—is simply a series of out-takes which does little more than allow you to warm to Tautou as a person. The home movie includes the transformation of Tautou into Amelie and the creation of the "photo-booth album". There are also interesting interviews with Jeunet and the cast and crew, and a nice little section themed around the gnome and his travels. Along with this is a storyboard-to-screen exposition, behind-the-scenes pictures, scene tests, teasers and trailers. All in all a decent enough package, but hardly warranting the special edition label. It's hard not to wonder why Momentum didn't offer this set two months earlier. —Nikki Disney

If you don't think Austin Powers is one of the funniest movies of the 1990s, maybe you should be packed into a cryogenic time chamber and sent back to the decade whence you came. Perhaps it was the 1960s—the shagadelic decade when London hipster Austin Powers scored with gorgeous chicks as a fashion photographer by day, crime-fighting international man of mystery by night. Yeah, baby, yeah! But when Powers' arch nemesis, Dr. Evil, puts himself into a deep-freeze and travels via time machine to the late 1990s, Powers must follow him and foil Evil's nefarious scheme of global domination. Mike Myers plays dual roles as Powers and Dr. Evil, with Elizabeth Hurley as his present-day sidekick and karate-kicking paramour. A hilarious spoof of 60s spy movies, this colourful comedy actually gets funnier with successive viewings, making it a perfect home video for gloomy days and randy nights. Oh, behave! —Jeff Shannon

"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 Mystery finds our man Austin heading back to the 1960s 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 jokes Myers indulges in, including one showstopper involving coffee and—shudder—a stool sample. Still, Myers's good humour and dead-on cultural references win the day; Austin is one spy who proves he can still shag like a minx. —Mark Englehart

Before he grew up and started to become a serious filmmaker, Robert Zemeckis created arguably the most unashamedly entertaining film trilogy ever with his Back to the Future series. It's here that Zemeckis came closest to emulating his mentor Steven Spielberg, and here, too, that he showed his own talent for combining flashy visual effects and knock-about comedy. The vivacious screenplays, cowritten with Bob Gale, are chock full of forwards and backwards-looking jokes, 1950s nostalgia and wry nods to other movies. Michael J Fox and Christopher Lloyd, both alumni of successful small-screen sitcoms (Family Ties and Taxi respectively), bring a frenetic energy to their roles, but also the warmth and likability needed to carry the audience with them through time.

Don't try and unravel the time-travel thread running throughout, as that way lie paradoxes: just accept its inherent absurdity and enjoy the ride. Marty McFly travels from 1985 to 1955 in a souped-up DeLorean sports car (Back to the Future), then forward in time to 2015 and back to 1955 again (Back to the Future II), before going all the way back to the Old West of 1885 (Back to the Future III). Matters become progressively more complicated as actions in the past have repercussions for the future, and vice versa. Marty learns life-lessons and Doc finds love at last; the joyful, helter-skelter pace never slackens for an instant. —Mark Walker

On the DVD:Back to the Future travels through time to the DVD era with a three-disc set charting the much-loved trilogy in full, along with an abundance of special features. The real joy in this box set is the "Making of the Trilogy" featurette, which spans the three discs and offers a wealth of information on the films. The deleted scenes have not faired well with age, with the visuals and sound suffering immensely. On Disc One the anecdotes can be played along with the film as subtitles, which is more than can be said for the commentary with Robert Zemeckis and Bob Gale recorded at the California University, which is simply a Q & A session—not played along with the movie—and would have been stronger as a filmed special feature. But all in all as three-disc sets go it doesn't get much better than this—and you won't need 1.21 gigawatts of electricity to enjoy it. —Nikki Disney

A genuinely epic achievement, the 10-part World War II drama Band of Brothers is a television series that makes big-screen Hollywood war movies look small in comparison. Based on the book by historian Stephen Ambrose, the series follows the US 101st Airborne Division's "Easy" E-Company from initial training through D-Day and across Holland, Belgium, Germany and Austria until the end of the war. Coproduced by Steven Spielberg and Tom Hanks, the series take its initial inspiration from Saving Private Ryan and borrows that film's visceral visual approach to combat scenes using hand-held camerawork and de-saturated photography. But where Band of Brothers excels is in its scrupulous attention to the realities of military life (retired US Marine Captain Dale Dye, who also co-stars, is the man to credit).

After the high drama of the parachute drop on D-Day, Easy's greatest trial comes during the Battle of the Bulge, when they are besieged at Bastogne in the depths of winter. In one of the most harrowing and credible depictions of war ever committed to film we see the men enduring the repeated artillery attacks of the German forces and experience, if only vicariously, some of the sheer terror of the assault, while being humbled by the soldiers' courage and determination. Such feelings are enhanced by the series' masterstroke—bookend interviews with the surviving members of Easy Company, who talk with barely suppressed emotion of the experiences we see recreated. The endorsement of these veterans elevates Band of Brothers beyond any mere "war film"—its extraordinary achievement is that it shows the horror and savagery of war without gloss or jingoism, and yet celebrates the fraternal bonds and dogged heroism of the men who fought.

On the DVD:Band of Brothers arrives handsomely packaged in a six-disc box set with two episodes on each of the first five discs. Sound (Dolby 5.1) and picture (1.78:1 widescreen) only enhance the series' epic credentials. Disc 6 contains all the extras, the meatiest of which is the marvellous 80-minute documentary "We Stand Alone Together" about the real men of Easy Company. There's also a first-rate, genuinely interesting 30-minute "making of" feature about actor boot camp, visual effects and blowing up fake trees among many other things. This is complemented by actor Ron Livingston's revealing Video Diaries of boot camp. Additionally there's a "Who's Who" section and footage of the HBO premiere at Utah Beach, plus a TV spot for car company Jeep. —Mark Walker

Just when you though that the Batman franchise was dead and buried—certainly after the abomination that was 1997's Batman & Robin—along comes director Christopher Nolan to brilliantly bring it all back to life with the astonishingly strong Batman Begins.

Nolan, whose curriculum vitae already features Memento and Insomnia, focuses his attention where films in the franchise haven't gone before—by examining that character of Batman himself. Thus, the story here is the genesis of the character, from the death of Bruce Wayne's parents, harrowing training with the mysterious League of Shadows, right through to the Dark Knight's first appearances on the street of a crime-ridden, moody Gotham City.

Nolan plays several trump cards in his take on the Batman legacy, and none pay off quite so handsomely as his casting. Christian Bale is an immense force in the dual role of Bruce Wayne and Batman, bringing a brooding anger and genuine unease to the Batsuit. He's backed with strong turns from Tom Wilkinson, Michael Caine, Liam Neeson, Gary Oldman, and Cillian Murphy as the unstable Scarecrow.

In spite of a last twenty minutes that can't quite sustain the tone of what's gone before, Batman Begins is a major achievement, and one of the finest superhero movies to date. Easily the best of the Dark Knight's big screen adventures, it manages to be a blockbuster film that's unpredictable, compulsive, superb to look at and well worth many repeated viewings. A staggering achievement, particularly considering the state the Batman franchise had got itself into.—Simon Brew