Philadelphia wasn't the first movie about AIDS (it followed such worthy independent films as Parting Glances and Longtime Companion), but it was the first Hollywood studio picture to take AIDS as its primary subject. In that sense, Philadelphia is a historically important film. As such, it's worth remembering that director Jonathan Demme (Melvin and Howard, Something Wild, The Silence of the Lambs) wasn't interested in preaching to the converted; he set out to make a film that would connect with a mainstream audience. And he succeeded. Philadelphia was not only a hit, it also won Oscars for Bruce Springsteen's haunting "The Streets of Philadelphia," and for Tom Hanks as the gay lawyer Andrew Beckett who is unjustly fired by his firm because he has AIDS. Denzel Washington is another lawyer (functioning as the mainstream-audience surrogate) who reluctantly takes Beckett's case and learns to overcome his misconceptions about the disease, about those who contract it, and about gay people in general. The combined warmth and humanism of Hanks and Demme were absolutely essential to making this picture a success. The cast also features Jason Robards, Antonio Banderas (as Beckett's lover), Joanne Woodward, and Robert Ridgely, and, of course, those Demme regulars Charles Napier, Tracey Walter and Roger Corman. --Jim Emerson

Created by and starring Bolton-born comic Peter Kay, Phoenix Nights is one of those rare gems that few saw on first showing but that everyone was soon talking about. The first series introduces wheelchair-bound Brian Potter (Kay), who runs the titular Phoenix, a shabby social club populated by an assortment of wonderfully observed characters. It's grim up North and despite the best efforts of the staff to inject life into the proceedings--be it an alternative comedy night, a version of Robot Wars in Potter's beloved Pennine Suite or a Wild West extravaganza--each evening's entertainment always ends badly. Undaunted, the Phoenix denizens continue to strive for their dream: a world in which "clubland never dies".

The beginning of the second series sees Brian Potter's beloved Phoenix Club lying in ashes and the staff scattered to the four winds. Even club compere Jerry St Clair is reduced to singing "Come get your black bin bags" to the tune of Men in Black in the local supermarket. But not even being barred from having a licence for the rest of his natural life can deter the northern Svengali from reopening the club and making it bigger and better than before--even if that means making Jerry the licensee and offering up-market Chinese nosh. --Kristen Bowditch

The beginning of the second series of Phoenix Nights sees Brian Potter's beloved Phoenix Club lying in ashes and the staff scattered to the four winds. Even club compere Jerry St Clair is reduced to singing "Come get your black bin bags" to the tune of Men in Black in the local supermarket. But not even being barred from having a licence for the rest of his natural life can deter the northern Svengali from reopening the club and making it bigger and better than before--even if that means making Jerry the licensee and offering up-market Chinese nosh.

This second instalment of Peter Kay's cult sit-com is more upbeat than the first, with some genuine success coming to the characters and club, but it still has its hilariously subversive undertones: a botched hit job; an inflatable castle with an extra appendage; and Brian stuck on his stair lift for a day after a power cut, to take just three examples. The script remains brilliantly surreal and incredibly funny. All the favourite characters remain, with club bouncers Paddy and Max featuring in a couple of the meatier storylines (perhaps setting them up for their own spin-off series?) and Jerry continuing to wow the crowds with his original vocal stylings, the highlight being the grand Stars in Their Eyes final in which he offers his own unique clubland take on Eminem. It's brilliantly original stuff: roll on Series 3. --Kristen Bowditch