David Attenborough and the BBC have a well-earned reputation for producing some of the greatest nature programmes, but The Life of Mammals could well be Attenborough's magnum opus. Much of the footage shot for this series had never been seen before, and is presented with the respect and reverence for the natural world that Attenborough has made his trademark. It never ceases to surprise: the sight of a lion taking down a wildebeest on the African savannah has almost become a cliché of nature programmes, yet in The Life of Mammals the cameras keep rolling and the viewer witnesses the fallen animal's herd coming to its rescue and driving off the lion. It's a moving sight and just one of many remarkable scenes.

A thorough and entertaining overview of one of evolution's greatest success stories, the series is loosely structured to follow the development of mammals, beginning with the basics in "A Winning Design", which clarifies what makes a mammal different from reptiles and birds--no, it isn't egg-laying: both the platypus and the echidna are egg-laying mammals; it's their ability to adapt. And it's this adaptability that becomes the crux of the remainder of the series. "Insect Hunters" focuses on mammals who have specifically adapted to eating insects, from the giant anteater and the armoured armadillo to bats, which have evolved into complex and effective hunters. "Plant Predators" demonstrates the particular (and often peculiar) adaptations of herbivores, while "Chisellers" is about those mammals who feed primarily on roots and seeds, ranging from tree-dwelling squirrels to opportunistic mice and rats. "Meat Eaters" talks about the evolutionary arms race that exists between predators and prey, and the unique adaptations of both individual and pack hunters. Omnivores are explored in "Opportunists"--mammals like bears and raccoons, whose varied diet allows them to occupy nearly any environment. "Return to the Water" discusses those mammals such as whales, seals and dolphins that have left behind life on dry land and adapted completely to life in the sea, existing at the top of the food chain. The last three episodes--"Life in the Trees", "Social Climbers" and "Food for Thought"--take the viewer through the development of primates, eventually culminating in that most successful mammal: man. --Robert Burrow

Life on Earth (1979) is an epic 13-programme series, presented by David Attenborough, offering a chronological account of the flora and fauna of planet Earth over a period of 3,500 million years. Whether recounting the first journey from the sea to the land, the development of insects and flowers, or "The First Forests" and "The Lords of the Air", Attenborough's enthusiasm is infectious. He guides us through "The Infinite Variety" of life from microbes to marsupials, via an unforgettable meeting with mountain gorillas, to conclude with "The Compulsive Communicators", mankind itself.

Three years in the making, involving 1.5 million miles of travel and featuring some of the most beautiful, breathtaking and ambitious photography then seen on television, Life on Earth was the first natural history blockbuster. It redefined TV by showing that an epic, serious wildlife documentary could be a massive success. As such, it remains a true television landmark and paved the way for Attenborough's The Living Planet and further entries in what became known as his "Life" series.

On the DVD: Life on Earth is presented complete in this DVD box set, with a total running time of 715 minutes (13 x 55 minutes). --Gary S Dalkin

Angelina Jolie proves her box-office versatility in Life or Something Like It, a romantic comedy (Jolie's first) that succeeds on the strength of Jolie's appealing performance. As Seattle TV news reporter Lanie Kerrigan, Jolie craves celebrity (i.e., she's insecure and seeks approval), but her disapproving cameraman (Edward Burns) detects an admirable woman beneath Lanie's bleached-blonde coif and pancake makeup. When a homeless street prophet (Tony Shalhoub) predicts that Lanie will soon be dead, she gradually juggles her priorities, connecting with Burns, appearing drunk on camera (a mistake that ultimately works in her favour), and finding new confidence in her professional and romantic potential. It's generic fluff, but director Stephen Herek (Rock Star, Mr Holland's Opus) approaches the material with his reliably good-natured sincerity and Jolie's bubbly charm mixes well with Burns's casual sensibility. And while Herek can't compare to George Cukor or Billy Wilder, he knows just how to handle the inevitable loopholes in the prophet's not-so-gloomy premonition. --Jeff Shannon