The grisly tale of the fate of a serial killer and a child molester. When the police's repeated attempts to nab him fail, the criminals themselves search him down, and give him a taste of his own medicine.

Fritz Lang's first sound movie, the serial-killer film M, has often been voted the best German film of all time, but, until now, most of us have never seen it properly. What we have seen is a heavily cut 1950s re-edit with extra sound and music patched in, where Lang was deliberately economical with the new technology. This new "Ultimate Edition" is dominated by a marvellous restoration which is true to his intentions and oft-voiced complaints about what had been done to his best film.

The young Peter Lorre is terrifyingly ordinary as the child-murderer whom police and criminals hunt down in what is still one of the best forensic police procedurals ever made, while Gustaf Grundgens has effortless charisma as the chief gangster. Lorre's Hollywood exile and decay, and Grundgens' betrayal of old friends and principles under the Nazis, merely add a layer of irony to all this. Lang's ironic cuts--a gangster's gesture is completed by his police equivalent--and dark, studio-bound cinematography make this one of the great precursors of American film noir. Simply, seen without cracks and pops and lines running down the screen, M is revealed as a true classic--a film that shames everything made in its genre since.

On the DVD: M on disc has a great deal of documentary material featuring scholars and technicians telling us just how clever they have been in preparing this splendid restoration. The film also comes with a detailed commentary into which has been spliced interview material with Lang talking in English about specific sequences. There is a German-language film interview with Lang in which he talks through his career and re-enacts the interview with Goebbels that led to his exile; an audio interview with Peter Bogdanovich; and an intelligent video critical essay by film historian R Dixon Smith. The restored film is shown in its correct, unusual visual aspect ratio of 1.90:1 and has vivid cleaned-up digital mono sound: the murderer's whistling of "In the Hall of the Mountain King" has never sounded so chilling. --Roz Kaveney

Second season, 24 episodes in all. Some very good episodes such as The Incubator', 'Five O'Clock Charlie', 'Carry On Hawkeye' and many more feature in this DVD

MASH--a 1970 comedy-drama set among surgeons drafted into the Korean war--was a breakthrough not just for director Robert Altman but for movie-making in general. Although set in the 50s, there are few who did not realise that the film's anti-war messages were directed at the US involvement in Vietnam. Indeed, the Pentagon banned US servicemen from seeing the film.

Starring Donald Sutherland as Hawkeye Pierce and Elliot Gould as Trapper John McIntyre, two hip young surgeons drafted against their will. Their general attitude--while never corroding either their humanity or their professionalism as surgeons--is one of insolence towards military authority and the arbitrary structures and regulations continually droning from the tannoy system. The film, too, thrives on a lack of attention to conventional order, with its cross-dialogue and random, episodic style reflecting the vivacious and unbuttoned feel of the content.

However, MASH has dated and much of what seemed like "liberating" high jinks, today smacks of sexist, frathouse boorishness and harassment, especially at the expense of Major "Hotlips" Hoolihan (Sally Kellerman), while the episode in which "Painless" plans a suicide out of a fear of being gay reflects the persistence of homophobia even in 60s counterculture. Despite this MASH feels ahead of its time and certainly sharper and blacker than the too-cute sitcom it spawned.

On the DVD: this is an excellent restoration, overseen by Altman himself, in which any obfuscation from the original have been cleaned up, especially the sound quality. As well as a commentary from Altman, there are three separate documentaries, featuring interviews with Altman, the cast and screenwriter Ring Lardner Jr, who had been blacklisted during the anti-Communist witch-hunt which swept through Hollywood in the 1950s. We learn he was initially appalled at how little of his script Altman actually used but was mollified by the Academy Award he received. Altman is candid about the making of the movie ("It wasn't released by Fox, it escaped from Fox"). There's an abundance of similarly rich, anecdotal material here. --David Stubbs

Set in an emergency medical camp, the sitcom M*A*S*H was based on Robert Altman's 1970 movie of the same name, which notionally took place during the Korean War but was implicitly a bleak commentary on the US involvement in Vietnam. First aired in 1972, the series is broader and less edgy than the film, taking the original characters and reducing them for stock comic value. Nonetheless, the sense of hip insolence is preserved in Alan Alda's carousing, wisecracking but essentially decent Hawkeye--Groucho Marx in a surgeon's mask.

The first series shows Hawkeye and buddy Trapper John (Wayne Rogers) dealing with the bloody and messy end of the war. Though not often explicitly critical of the conflict, their attitude towards the uptight, irascible Major Frank Burns (Larry Linville) and Loretta Swit's prim, buttoned-up nurse "Hotlips" Houlihan suggests a healthy contempt for military mores. Fortunately, their commander Henry Blake (McClean Stevenson) is an easy-going soul who indulges them and allows a genial atmosphere to flourish at the 4077th.

The pilot--in which Hawkeye arranges a raffle where the prize is a night with a gorgeous nurse to raise money for a Korean kid to get to college--sums up the spirit of these early episodes: soft-centred liberalism mixed with somewhat dated sexism, albeit more slickly delivered than contemporary British sitcoms such as On the Buses. The skirt-chasing and buffoonery in this first series would give way to a more earnest tone as the show continued.

On the DVD: M*A*S*H is disappointingly short on special features. However, there is the option of removing the jarringly inappropriate intrusive laugh track that was used on US broadcasts of the show but not the UK version. These episodes have been comprehensively cleaned up for DVD consumption. --David Stubbs

In honouring M*A*S*H's third series with the prestigious Peabody Award, the judges praised it "for the depth of its humour and the manner in which comedy is used to lift the spirit and, as well, to offer a profound statement on the nature of war." Contained on three discs, the third series comprises several benchmark episodes illustrative of what the Peabody judges called "television of high purpose." In "Rainbow Bridge" Hawkeye (Alan Alda), Trapper (Wayne Rogers), Radar (Gary Burghoff), Klinger (Jamie Farr), and an opportunistic Frank Burns (Larry Linville) participate in a swap with the North Koreans of wounded POWs. In "The Consultant", Robert Alda (Alan's dad) guest stars as a visiting doctor who cracks under the pressure of operating so close to the front. And the shocking season finale, "Abyssinia, Henry", took a page from Mister Roberts and killed off commanding officer Henry Blake (McLean Stevenson), who was en route home.

M*A*S*H's sense of humour did not go AWOL. The season opener, "The General Flipped at Dawn", earned guest star Harry Morgan an Emmy nomination for his performance as a certifiable general and paved the way for Morgan to join the cast in season four. "Adam's Ribs" is a classic episode in which Hawkeye orders out to Chicago for a very special delivery of spare ribs. In "Iron Guts Kelly", the war's "greatest fighting general" gets a little too gung-ho and perishes in Margaret's (Loretta Swit) tent. To paraphrase the title of one episode, this was a full, rich season that offered each member of one of television's finest ensembles the opportunity to shine. But Alda, who earned a Golden Globe award that year, fully emerges as the series' star. --Donald Liebenson