A medieval comedy-adventure starring Michael Palin and directed by Terry Gilliam, Jabberwocky is an episodic adaptation of Lewis Carroll's surreal poem. Having previously directed Monty Python and The Holy Grail (1975) with Terry Jones, Jabberwocky marked Gilliam's solo directorial debut--is it coincidental that Jones is killed by the titular monster in the opening scene? Palin plays the naive Dennis Cooper, a man seeking his fortune just as the Jabberwocky is laying waste to the country. It's much the same world as Holy Grail, with all the trappings of the romantic Hollywood epic being liberally coated with literal and metaphorical muck.

Palin's character causes unwitting mayhem wherever he goes--one stand-out scene involves the destruction of a maintenance shop for damaged knights-in-armour--though as much humour comes from exposing the foibles of the people he meets. And those people constitute a roll call of contemporary British comedy: Harry H Corbett as a sex-mad squire, Warren Mitchell's Mr Fishfinger, plus Annette Badland, Max Wall, John Le Mesurier, Rodney Bewes, John Bird, Neil Innes and John Gorman. Jabberwocky lacks the hilarity of Holy Grail, but is a consistently amusing, exceptionally atmospheric, gleefully gory yarn which points the way to Gilliam's Time Bandits (1981) and The Adventures of Baron Munchausen (1988).

On the DVD Jabberwocky is distinguished by an engaging and enthusiastic commentary from Gilliam and Palin, in which they delight in the amazing cast and ponder how such a handsome film was made. Otherwise the extras are a short sketch-to-screen comparison, three posters and three trailers (only one for Jabberwocky). Transferred anamorphically enhanced at 1.77:1, the picture is variable, with many beautifully lit indoor scenes looking fine, while other exterior, daylight shots appear washed out. There is some minor print damage. The sound is a revelation for a low-budget 1970s film originally released in mono. Given a full Dolby Digital 5.1 remix the tremendously detailed, rich and involving soundscape really brings Gilliam's world alive and puts many much more recent and expensive titles to shame. --Gary S Dalkin

Jack is Francis Coppola at his most pointless noodling, looking for the film he wants to make instead of just making it. Robin Williams stars as 10-year-old Jack, a boy with an inexplicable disease that ages him at four times the normal human rate. Kept at home like a contemporary Boo Radley, Jack becomes a neighbourhood legend until his parents relent and send him to school. In time, the other kids befriend him and stay loyal as his hyperdevelopment puts a strain on his body and emotions. The idea is sound, but the execution is a bore. The best the script and Coppola can come up with are painfully long scenes in which Williams's character proves himself on the playground and in gross-out contests in a tree house. Coppola fishes around for signs of life and spontaneity in these scenes, but the film is actually best when Jack has to cope with certain feelings in his mature body (such as his attraction to a character played by Fran Drescher) that he isn't prepared for emotionally. Jack would have been a lot better if Coppola had embraced a plan from beginning to end and stuck to it. --Tom Keogh, Amazon.com

The story of a father and baby daughter, 1995's Jack and Sarah is the best cinematic depiction of what came to be known as "the 90s man". No matter how bad things get we know Richard E Grant will eventually learn to get in touch with his feelings and express his emotions. Grant plays Jack, whose reaction to the loss of his wife during childbirth is initially complete rejection followed by an alcoholic binge. Jack's family coax fatherhood from him easily enough however and this is where the film's heart lies. Brushing away the bitter beginning, Grant's comedic performance in juggling life around newborn baby Sarah is often hilarious: the image of the child in a sock hat being carried in a padded envelope is priceless. Bouncing off Grant's acting are some terrific cameos from Judi Dench as his stuffy mum and Sir Ian McKellen as a convincingly inebriated butler. Samantha Mathis plays an American waitress who provides a twist to the tale. There's genuine chemistry between her and Grant, specifically when they are both around the outrageously cute baby Sarah. Written and directed by Tim Sullivan, this is clearly a very personal expression of the meaning of family. Although backed by lots of Simply Red songs, it hopefully won't be one that's too quickly outdated.

On the DVD: The ratio is confusingly stated as "Widescreen 4:3". Effectively it's an anamorphic 1:66:1 presentation giving a tad more edge than its video predecessor. Sound is in Dolby surround. The minimal extras are four repetitive TV spots and two theatrical trailers. --Paul Tonks