On the DVD commentary track, Nicholas Meyer discusses his directing philosophy, how he scrimped to stay under budget (Wrath of Khan was the cheapest Star Trek film), and his nautical approach to Trek, but he doesn't dissect all the various bits of footage (only a few minutes total, with the most substantial change explaining Midshipman 1st Class Peter Preston's connection to Commander Scott) that went into the director's cut DVD. For those kinds of technical details and trivia, switch on the subtitled commentary track by Michael Okuda (who cowrote The Star Trek Encyclopedia and did the same honors on the Star Trek: The Motion Picture DVD). Disc 2 offers substantial featurettes on how the story developed and how the costumes, ships, and sets were designed, highlighted by new interviews of Meyer, producer-writer Harve Bennett, William Shatner, Leonard Nimoy, and Ricardo Montalban. There are also 8 minutes of 1982 interviews, 13 storyboard archives, and a feature that might seem like a 27-minute commercial for Star Trek books, but is actually an interesting and lighthearted look at how novelists create the back story for such topics as the Kobayashi Maru test and the Eugenics Wars, which feature prominently in Khan. —David Horiuchi

The corsets and high waists of the 19th century meet the lush colors and visual splendor of India in Vanity Fair, a classic novel translated into modern celluloid by Mira Nair (Monsoon Wedding). The very contemporary Reese Witherspoon (Legally Blonde, Election) at first seems to hit the wrong note as Becky Sharp, an orphaned girl who rises to the heights of society using her quick wits and feminine wiles. But as Vanity Fairunfolds, the movie's tone embraces both period decor and modern attitudes, searching for a bridge that will carry us more deeply into a different time. It isn't wholly successful—the movie's end wraps things up awkwardly—but some scenes achieve a surprising and vivid immediacy, in particular one in which Becky's gambler husband (elegant James Purefoy) catalogues his worth for her before going off to the Napoleonic battlefields; love and pragmatism fuse with heartbreaking results. —Bret Fetzer

Heavy on atmosphere and light on everything else, From Hell is visually impressive while lacking the depth of the acclaimed graphic novel it's based upon. Making their third feature since 1993's Menace II Society, twins Allen and Albert Hughes approach the Jack the Ripper case with physical precision, re-creating the gritty Whitechapel district of 1888 London in meticulous detail. What they've forgotten is the sheer terror that gripped Whitechapel in the wake of the Ripper's slaying of five prostitutes, investigated here by a Scotland Yard sleuth (Johnny Depp) who uses opium, laudanum, and absinthe to fuel his semiprescient visions of the slayings. Heather Graham attempts a slippery Cockney accent as a would-be victim, while Ian Holm steals the show as a has-been surgeon with devilish delusions of grandeur. Violence is obliquely suggested or briefly graphic, but no matter how you cut it, From Hell is only marginally thrilling as it treads familiar territory. —Jeff Shannon

Basil Fawlty, as created and performed by John Cleese, is the rudest, most boorish, most hilariously obnoxious man on the face of the planet. What a natural for a TV sitcom! His screen wife, Sybil (Prunella Scales), put it best in the episode "The Psychiatrist": "You're either crawling all over them, licking their boots, or spitting poison at them like some Benzedrine puff adder." He mockingly replies, "Just trying to enjoy myself, dear." With his gangly frame and contortionist abilities, Cleese brilliantly punctuates Basil's outrageous faux pas with absurd gymnastics and turns Three Stooges-style pokes and kicks into a slapstick ballet. Scales's Sybil is the genial but obliviously chatty voice of reason and Andrew Sachs mangles the English language as the Spanish bellhop Manuel, whose struggles with simple directions results in comic lunacy reminiscent of Robert Benigni. After a six-episode run in 1975, Cleese and cowriter and costar Connie Booth (who plays Polly, the maid all too often pulled into Basil's ridiculous plans) reunited the cast in 1979 for another six episodes without missing a punch line. The four-volume collection contains all 12 shows, interspersed with interview segments featuring Cleese discussing the genesis of the series and anecdotes about the individual episodes. Remember to watch the opening credits of each show to spot the creative misspellings on the hotel sign (my favorite: "Fatty Owls"). —Sean Axmaker

One of the most endearing and intelligent romantic comedies of the '90s, the Oscar-winning Shakespeare in Loveis filled with such good will, sunny romance, snappy one-liners, and devilish cleverness that it's absolutely irresistible. With tongue placed firmly in cheek, at its outset the film tracks young Will Shakespeare's overwrought battle with writer's block and the efforts of theater owner Philip Henslowe (Geoffrey Rush, in rare form) to stage Will's latest comedy, Romeo and Ethel, the Pirate's Daughter. Jokey comedy, though, soon takes a backseat to ravishing romance when the beautiful Viola De Lesseps (Gwyneth Paltrow) disguises herself as a young man to wangle herself an audition in the all-male cast, and wins both the part of Romeo and, after much misunderstanding, the playwright's heart. Soon enough, Will's pirate comedy becomes the beautiful, tragic Romeo and Juliet, reflecting the agony and ecstasy of Will and Viola's romance—he—he's married and she's set to marry the slimy Lord Wessex (Colin Firth) in the near future.

The way that Oscar-winning screenwriters Marc Norman and Tom Stoppard enfold their story within the parameters of Romeo and Juliet (and even Twelfth Night) is nothing short of brilliant—it would take a Shakespearean scholar to dissect the innumerable parallels, oft-quoted lines, plot developments, and thematic borrowings. And most amazingly, Norman and Stoppard haven't forgotten to entertain their audience in addition to riding a Shakespearean roller coaster, with director John Madden (Mrs. Brown) reigning in his huge ensemble with rollicking energy. Along the way there are small gems to be found, including Judi Dench's eight-minute, Oscar-winning turn as a truly regal Queen Elizabeth, but the key element of Shakespeare in Love's success rests on the milky-white shoulders of its two stars. Fiennes, inexplicably overlooked at Oscar time, is a dashing, heartfelt Will, and as for Best Actress winner Paltrow, well, nothing she'd done before could have prepared viewers for how amazing she is here. Breathtakingly beautiful, fiercely intelligent, strong-willed, and lovestruck—it—it's a performance worthy of Shakespeare in more ways than one. By the film's end, you'll be thoroughly won over—and brushing up your Shakespeare with newfound ardor. —Mark Englehart

You'll be proud to introduce your kids to this film about virtue, courage, and an indomitable spirit. Like Treasure Islandand Tom Sawyer, Prideshould be required viewing for every family. Gary Cooper plays Lou Gehrig, the "Iron Horse" New York Yankee first baseman who became a record-setting legend in baseball. Sure, Cooper's a little long in the tooth to play a collegian, and he tries to capture Gehrig's innocence with a kind of eye-batting dopiness. But the last moments of the film, before Gehrig's final, famous farewell, transform the picture. Gehrig happens across a young man whom he had encountered years before in a children's hospital, and with this sequence, Pridebecomes something more than a movie about innate talent and athleticism, or a lost era of America, it crystallizes into a film about (gulp!) human will. An absolute must. —Keith Simanton

When Ridley Scott's cut of Blade Runnerwas finally released in 1993, one had to wonder why the studio hadn't done it right the first time—11 years earlier. This version is so much better, mostly because of what's been eliminated (the ludicrous and redundant voice-over narration and the phoney happy ending) rather than what's been added (a bit more character development and a brief unicorn dream). Star Harrison Ford originally recorded the narration under duress at the insistence of Warner Bros. executives who thought the story needed further "explanation"; he later confessed that he thought if he did it badly they wouldn't use it. (Moral: Never overestimate the taste of movie executives.) The movie's spectacular futuristic vision of Los Angeles—a perpetually dark and rainy metropolis that's the nightmare antithesis of "Sunny Southern California"—is still its most seductive feature, another worldly atmosphere in which you can immerse yourself. The movie's shadowy visual style, along with its classic private-detective/murder-mystery plot line (with Ford on the trail of a murderous android, or "replicant"), makes Blade Runnerone of the few science fiction pictures to legitimately claim a place in the film noirtradition. And, as in the best noir, the sleuth discovers a whole lot more (about himself and the people he encounters) than he anticipates. The cast also includes Sean Young, Edward James Olmos, Daryl Hannah Rutger Hauer and M. Emmet Walsh. —Jim Emerson

Who would have guessed that this clever, fast-paced creature feature from 1990 would become a beloved miniclassic worthy of its own Collector's Edition DVD? Tremorsdidn't actually break any new ground (even though its tunneling worm monsters certainly did), but it revved up the classic monster-movie formulas of the 1950s with such energetic enthusiasm and humor that it made everything old seem new again. It's also got a cast full of enjoyable actors who clearly had a lot of fun making the film, and director Ron Underwood strikes just the right balance of comedy and terror as a band of small-town rednecks battles a lot of really nasty-looking giant worms. The special effects are great, the one-liners fly fast and furious between heroes Kevin Bacon and Fred Ward (and yes, that's country star Reba McEntire packin' awesome firepower), and it's all done with the kind of flair one rarely associates with goofy monster flicks like this. Followed by a direct-to-video sequel (Tremors: Aftershocks), this horror thriller was given the deluxe treatment for its DVD release. Bonus features include an original "making-of" documentary, previously unseen video showing the creation of the worm-creatures, outtakes from the film, the original ending not shown in theaters, theatrical trailers, and a gallery of production photographs. If you're a fan, consider this a must-have disc! —Jeff Shannon

Very few films come close to the brilliance Kenneth Branagh achieved with his first foray into screenwriting and direction. Henry Vqualifies as a masterpiece, the kind of film that comes along once in a decade. He eschews the theatricality of Laurence Olivier's stirring, fondly remembered 1945 adaptation to establish his own rules. Branagh plays it down and dirty, seeing the bard's play through revisionist eyes, framing it as an antiwar story. Branagh gives us harsh close-ups of muddied, bloody men, and close-ups of himself as Henry, his hardened mouth and willful eyes revealing much about this land war. Not that the director-star doesn't provide lighter moments. His scenes introducing the French Princess Katherine (Emma Thompson) are toothsome. Bubbly, funny, enhanced by lovely lighting and Thompson's pale beauty, these glimpses of a princess trying to learn English quickly from her maid are delightful.

What may be the crowning glory of Branagh's adaptation comes when the dazed, shaky leader wanders through battlefields, not even sure who has won. As King Hal carries a dead boy (Empire of the Sun's Christian Bale) over the hacked-up bodies of both the English and French, you realize it is the first time Branagh has opened up the scenes: a panorama of blood and mud and death. It is as strong a statement against warmongering as could ever be made. —Rochelle O'Gorman

Heavy on atmosphere and light on everything else, From Hellis visually impressive while lacking the depth of the acclaimed graphic novel it's based upon. Making their third feature since 1993's Menace II Society, twins Allen and Albert Hughes approach the Jack the Ripper case with physical precision, re-creating the gritty Whitechapel district of 1888 London in meticulous detail. What they've forgotten is the sheer terror that gripped Whitechapel in the wake of the Ripper's slaying of five prostitutes, investigated here by a Scotland Yard sleuth (Johnny Depp) who uses opium, laudanum, and absinthe to fuel his semiprescient visions of the slayings. Heather Graham attempts a slippery Cockney accent as a would-be victim, while Ian Holm steals the show as a has-been surgeon with devilish delusions of grandeur. Violence is obliquely suggested or briefly graphic, but no matter how you cut it, From Hellis only marginally thrilling as it treads familiar territory. —Jeff Shannon

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

Matrixwriter-directors Larry and Andy Wachowski commissioned seven artists from Japan, America and Korea to make nine short films set in the world of their feature trilogy. Some of the top anime directors contributed to this anthology, including Yoshiaki Kawajiri (Ninja Scroll), Koji Morimoto (Robot Carnival), and Shinchiro Watanabe (Cowboy Bebop). Some of the films tie directly into the narrative of the live- action movies. Drawn in a style reminiscent of Jean "Moebius" Giraud, Mahiro Maeda's The Second Renaissance(Part I & Part II) depicts the human-machine wars that caused the enslavement of humanity and the creation of the Matrix. The duel between two flamboyantly costumed Kabuki warriors in Kawajiri's Programis an expanded version of the cybernetic training Neo (Keanu Reeves) undergoes in the first Matrixfilm. Watanabe evokes the look of old newspaper photographs in A Detective Story,which falls outside the storyline of the features. Fast-paced, violent and grim, The Animatrixis an uneven but intriguing compilation that represents a new level in the ongoing cross-pollination between Japanese animation and American live action. (Not rated, suitable for ages 16 and older: considerable violence, violence against women, grotesque imagery, brief nudity, alcohol use) —Charles Solomon