Film buffs and critics can argue until their faces turn blue about whether this lavish Dickensian musical deserved the Academy Award for Best Picture of 1968, but the movie speaks for itself on grandly entertaining terms. Adapted from Dickens's classic novel, it's one of the most dramatically involving and artistically impressive musicals of the 1960s, directed by Carol Reed with a delightful enthusiasm that would surely have impressed Dickens himself. Mark Lester plays the waifish orphan Oliver Twist, who is befriended by the pick-pocketing Artful Dodger (Jack Wild) and recruited into the gang of boy thieves led by Fagin (played to perfection by Ron Moody). The villainous Bill Sikes (Oliver Reed) casts his long shadow over Oliver and his friends, but the young orphan is still able to find loving care in the most desperate of circumstances. Full of memorable melodies and splendid lyrics, Oliver! is a timeless film, prompting even hard-to-please critic Pauline Kael to call it "a superb demonstration of intelligent craftsmanship," and to further observe that "it's as if the movie set out to be a tribute to Dickens and his melodramatic art as well as to tell the story of Oliver Twist". --Jeff Shannon, Amazon.com

Disney does Dickens in this animated version of Oliver Twist, in which a homeless New York City cat falls in with a bunch of mischievous dogs under the leadership of the appealing scoundrel Fagin. The roots of Disney's success with animation in the 1990s begins with this clever, energetic, atmospheric movie, which succeeds in capturing the grim world Dickens conjured. Lyricist Howard Ashman (The Little Mermaid) worked on the songs, the best of which is sung by Billy Joel, who provides the voice of (the Artful) Dodger. --Tom Keogh

Director Oliver Stone is celebrated in this four-film, six-disc box set collection that includes two-disc "director's cut" versions JFK and Any Given Sunday respectively, plus Heaven and Earth and the documentary Oliver Stone's America.

JFK is that rarest of things, a modern Hollywood drama which credits the audience with intelligence. Epic in length--this 198-minute director's cut runs 17 minutes longer than the cinema version--Oliver Stone's film has the archetypal story, visual scale and substance to match; not just a gripping real-life conspiracy thriller, but a fable for the fall of the American dream. Stone's DVD commentary is thoughtful, eloquent and considered. The Dolby Digital 5.1 soundtrack and the anamorphically enhanced 2.35:1 picture are both first-class. The second disc contains 53 minutes of deleted and extended versions of scenes, all of which are available with or without commentary by Stone, a 10-minute video interview with the real "X", and a half-hour examination of documents only declassified in the wake of the film's release.

Any Given Sunday is a massive 150-minute American football drama which, for all its ferocity and cynicism, is as soft-centred and clichéd as any Rocky-style underdogs-make-good crowd-pleaser. This is the director's cut with Stone's commentary ranging far and wide: he is far more interesting and thought-provoking to listen to than his film is to watch. The anamorphically enhanced 2.35:1 image and Dolby Digital 5.1 soundtrack are both flawless. The loaded second DVD includes Jamie Foxx's audition video, a routine 27-minute making-of documentary, music videos, outtakes set to music, and 33 minutes of deleted/alternative scenes with optional commentary from Stone. DVD-ROM and other features complete an exceptional package.

Heaven and Earth follows Platoon (1986) and Born of the Fourth of July (1989) to conclude Stone's Vietnam War trilogy. Where Stone won Best Director Oscars for both previous films, Heaven and Earth proved a box-office disaster and went unrecognised by the Academy. It's hard not to think that racism underlay the commercial failure, for where the hit movies addressed the sufferings of white American soldiers played by Hollywood stars, Heaven and Earth focused on the fundamental victims, adapting the true story of a young Vietnamese woman, Le Ly, who goes from village girl to freedom fighter to wife of a US marine struggling to adjust to life in America to reconciliation in Vietnam. Superbly made, with a stunning performance by Hiep Thi Le as Le Ly, and powerful support from Tommy Lee Jones, this is intelligent, harrowing filmmaking which attempts to understand and bridge the divide between nations traumatised by war. Unfortunately heavily cut to bring it down to a multiplex-friendly running time, the often brilliant 135 minutes on show suggest a longer modern classic ended-up on the cutting room floor. The DVD features an incisive commentary by Stone, who alone of major Hollywood directors fought in Vietnam. Confirming that Heaven and Earth was heavily cut is the inclusion of 48 minutes of deleted/extended scenes, including a vastly extended 22-minute opening, Dolby Digital 5.1 sound and anamorphically enhanced 2.35:1 picture are excellent.

Oliver Stone's America is a 53-minute interview in which Stone talks candidly about his films, concentrating on the trio included in the Oliver Stone Collection, firing off considered opinions at a rapid rate. Also included is Stone's student film, Last Year in VietNam, clearly influenced by the French New Wave in general and L'Année dernière à Marienbad (1961) in particular. --Gary S Dalkin

There have been many film and TV adaptations of Oliver Twist but this 1948 production from director David Lean remains the definitive screen interpretation of the Charles Dickens classic. From the ominous symbolism of its opening storm sequence (in which Oliver's pregnant, ill-fated mother struggles to reach shelter before childbirth) to the mob-scene climax that provokes Bill Sikes's dreadful comeuppance, this breathtaking black-and-white film remains loyal to Dickens while distilling the story into its purest cinematic essence.

Every detail is perfect--Lean even includes a coffin-shaped snuffbox for the cruel Mr. Sowerberry--and as young Oliver, eight-year-old John Howard Davies (who would later produce Monty Python's Flying Circus for the BBC) perfectly expresses the orphan's boyish wonderment, stern determination and waifish vulnerability. Best of all is Alec Guinness as Fagin, so devious and yet so delightfully appealing under his beak-nosed (and, at the time, highly controversial) make-up. (Many complained that Fagin's huge nose and greedy demeanour presented an anti-Semitic stereotype, even though Lean never identifies Fagin as Jewish; for this reason, the film wasn't shown in the US until three years after its British release.) Likewise, young Anthony Newley is artfully dodgy as Fagin's loyal accomplice, the Artful Dodger.

Guinness's performance would later provide strong inspiration for Ron Moody's equally splendid portrayal of Fagin in the Oscar-winning Oliver! and while that 1968 musical remains wonderfully entertaining, it is Lean's film that hews closest to Dickens' vision. The authentic recreation of 19th-century London is marvellous to behold; Guy Green's cinematography is so shadowy and stylised that it almost qualifies as Dickensian film noir. Lean is surprisingly blunt in conveying Dickens's theme of cruelty but his film never loses sight of the warmth and humanity that Oliver embodies. --Jeff Shannon