Ali G is used by the Chancellor to bring down the Prime Minister, however, Ali proves to be a very successful allie for the PM...

Ali G is used by the Chancellor to bring down the Prime Minister, however, Ali proves to be a very successful allie for the PM...

By the marginal-or-miss standards of British TV spin-offs, Ali G in da House is well above adequate, even though it drags out every smart line or decent routine until they lie dead on the screen just begging for a laugh track. The film pulls back a bit from the absolute obnoxiousness of the Ali G TV skits, which makes Sacha Baron Cohen's character bearable at feature length, but also significantly less funny. Here it is finally confirmed that Ali is a weedy white kid called Alistair who pretends to be Jamaican, rather than a weedy white comedian doing a Jamaican character.

Believe it or not, there's actually a plot, with a scheming Chancellor of the Exchequer (Charles Dance) recruiting Ali as a parliamentary candidate for Staines in a devious attempt to unseat Prime Minister Michael Gambon. Yet this framework is really an excuse for the sketch-like bits, such as a Los Angeles ghetto movie fantasy, Ali G addressing a meeting of lesbian feminists ("I've seen a lot of your videos"), and Charles Dance forced to read a budget speech in Ali G speak. Oddly, the film makes early-1990s jokes about Tories rather than going after New Labour, but any political satire here comes in second to knob-polishing jokes and sometimes-hilarious patter. Luckless inhabitants of the M4 corridor will nod ruefully at the final gag, in which Ali G persuades the PM not to devastate Staines and nods agreement as Gambon reassures him, "it's all right, we'll destroy Slough instead". --Kim Newman

Critics greeted Woody Allen's 1990 opus Alice with sighs of resignation. Here was yet another of Allen's bemused heroines-at-a-crossroads/crisis, falling prey to all kinds of temptation and fantasy and emerging at the other end a more complete, fulfilled or at least self-aware human being. But, though it's a minor work by his highest standards, it has weathered rather well. This is a softer exploration of territory Allen had previously covered rather more intensely and seriously in Another Woman (1988). It's often very funny and ultimately affirms one of Allen's most persistent themes: however confused you think you are, the answer probably lies somewhere inside you rather than in anybody else.

As Alice, Mia Farrow gives one of her most versatile and unmannered performances, revealing a real gift for comedy. However bitter the breakdown of her long personal relationship with Allen, there is no doubt that he took her to new professional heights in their cinematic collaborations. At the start, Alice is little more than a well-heeled housewife and mother, a lady who lunches with bitchy friends. Her dissatisfaction with her marriage (to patronising rich guy William Hurt) leads her into the path of Chinese herbalist Dr Yang, whose potions set her off on a series of experiences which include the affair she has been considering, becoming invisible (cue some great gags, especially one involving a New York cab) and a brief flirtation with opium (here Allen's trademark soundtrack of old standards includes the evocative "Limehouse Blues"). There's also some great dialogue. "He's very deep," says Farrow of her putative lover (Joe Mantegna). "Yeah, and very deep is where he wants to put it", cracks back her visiting muse (a glittering cameo from Bernadette Peters).

On the DVD: Presented in widescreen (1.85:1) format with a Dolby Digital stereo soundtrack, Alice on DVD replicates the hallmark intimacy of Allen's films in the cinema with good picture and lush sound quality (the importance of his romantic, referential musical choices should never be underestimated). There are no extras, apart from the original theatrical trailer. --Piers Ford

light up the screen in this refreshing, feel-good comedy from one of the acclaimed creators of SLEEPLESS IN SEATTLE.