Singin' in the Rain is probably the most treasured musical in the history of cinema. It is essentially a satire on the dawning age of talking pictures, but that description doesn't begin to describe its importance in the hearts of film lovers, even those who can't otherwise stand musicals. Given its origins--producer Arthur Freed wanted a framework on which to hang a selection of the hits he'd written in the early part of his career with Nacio Herb Brown, many of which had themselves featured in early talkies--it should have been a mongrel of a picture. But somehow, with its combination of endearing performances, the razor-sharp script of Adolph Green and Betty Comden, instinctive direction from Gene Kelly and Stanley Donen and those delightful songs, it is triumphantly greater than the sum of its parts.

Kelly's dance sequence, conceived for the title song, is an undiluted joy and remains an iconic cinema moment. But there is so much more to savour: Donald O'Connor's knockout vaudeville, Jean Hagen's hilarious Bronx-voiced leading lady and the honest charm of underrated Debbie Reynolds, crowned by Kelly's choreography for the Broadway Melody suite. No collection is complete without this.

On the DVD: Singin' in the Rain--Special Edition, vibrant in 1.33:1 fullscreen format with a crystalline mono soundtrack, is the crown jewel in the embarrassment of riches on this 50th anniversary two-disc DVD. The extras just keep coming: "Musicals, Great Musicals" (a documentary about Arthur Freed's legendary production unit at MGM), a shorter documentary about the film itself (much of which is duplicated by the audio commentary, led by Debbie Reynolds), outtakes and audio scoring sessions and extracts from films in which many of the songs originated. There's also a hidden feature in which Baz Lurhmann offers his own testimony to the film's enduring appeal, but it's a tad redundant given the primary sources on offer. --Piers Ford

A silent film production company and cast make a difficult transition to sound

You can take this 1992 thriller one of two ways: it's either a highly suspenseful movie about an unfortunate young woman's psychological breakdown, or it's a glossy slasher movie starring two of Hollywood's best young actresses. Or maybe it's both at the same time-or perhaps it's the clever and well-acted thriller for its first hour before resorting to the routine shocks of a cheap horror flick. However you look at it, there's no denying that this is a dynamite showcase for Jennifer Jason Leigh as the flatmate from hell who becomes the bane of Bridget Fonda's existence. First she picks up Fonda's mannerisms, then starts to borrow her wardrobe, cuts her hair to resemble Fonda's, and even "borrows" her roommate's boyfriend for a deceitful night of lovemaking. By that point Fonda's totally freaking out (wouldn't you?), and, well, that's when the whole thing gets a little too silly. Still, this is a nifty little shocker, and director Barbet Schroeder brings more intelligence and style to the material than it really deserves. Add that to the fine performances by the battling roommates and you've got a movie that will make you think twice before inviting total strangers to live with you. --Jeff Shannon, Amazon.com