The great improvisational comedy team of Mike Nichols and Elaine May reunited to (respectively) direct and write this update of the French comedy La Cage Aux Folles. Robin Williams stars as a gay Miami nightclub owner who is forced to play it straight and ask his drag-queen partner (Nathan Lane) to hide out when Williams's son invites his prospective--and highly conservative--in-laws and fiancée to a meet-and-greet dinner party. Gene Hackman and Dianne Wiest play the straight-laced senator and his wife, and Calista Flockhart (from television's Ally McBeal) plays their daughter in a culture-clash with outrageous consequences. May's witty screenplay incorporates some pointed observations about the political landscape of the 1990s and takes a sensitive approach to the comedy's underlying drama. Topping off the action is Hank Azaria in a scene-stealing role as Williams's and Lane's flamboyant housekeeper, "Agador Spartacus." --Jeff Shannon

Vacationing in northern California, Alfred Hitchcock was struck by a story in a Santa Cruz newspaper: "Seabird Invasion Hits Coastal Homes". From this peculiar incident, and his memory of a short story by Daphne du Maurier, the master of suspense created one of his strangest and most terrifying films. The Birds follows a chic blonde, Melanie Daniels (Tippi Hedren), as she travels to the coastal town of Bodega Bay to hook up with a rugged fellow (Rod Taylor) she's only just met. Before long the town is attacked by marauding birds, and Hitchcock's skill at staging action is brought to the fore. Beyond the superb effects, however, The Birds is also one of Hitchcock's most psychologically complicated scenarios, a tense study of violence, loneliness, and complacency. What really gets under your skin are not the bird skirmishes but the anxiety and the eerie quiet between attacks. The director elevated an unknown model, Tippi Hedren (mother of Melanie Griffith), to being his latest cool, blond leading lady, an experience that was not always easy on the much-pecked Ms. Hedren. Still, she returned for the next Hitchcock picture, the underrated Marnie. Treated with scant attention by serious critics in 1963, The Birds has grown into a classic and--despite the sci-fi trappings--one of Hitchcock's most serious films. --Robert Horton

Harold Pinter's first full-length stage play, The Birthday Party, was 10 years old when William (The Exorcist) Friedkin directed it for the cinema in 1968. In some ways, it was already a period-piece by then, Pinter's use of a combination of silence and excruciatingly banal dialogue to generate precipitous dramatic tension having been absorbed by contemporary theatrical mythology long since. Are the sinister McCann and Goldberg real? Or do they exist only in Stan's head? At the end, we're none the wiser. But Friedkin's claustrophobic direction, with the tormented Stan as its focus, has taken us through a master study in understated horror. The handheld camera, so fashionable in modern television drama, has rarely been used to such hypnotic effect.

As Stan, Robert Shaw is mesmerising in his descent to animal-like submission. Sydney Tafler's Goldberg and Patrick Magee 's McCann make a truly terrifying double act. Cult television fans will appreciate an early appearance by Helen Fraser (these days best known as a sadistic prison warder in Bad Girls) as the easily seduced neighbour. Now that Friedkin's film is itself over 30 years old, the scent of mothballs ought to be even more pronounced. Its decrepit seaside boarding house setting and the drabness of the peripheral players are redolent of the distinctly non-swinging side of the 1960s in which it was made. But more than anything, The Birthday Party is about unspecified terror and the sort of inner demons that lurk in all of us.

On the DVD: Excellent sound quality helps to make this a compellingly theatrical experience: never has the noise of tearing newspaper been more menacing. And the picture quality retains the grainy authenticity of the original print. Special features include brief backgrounders on the history of the play and Friedkin's career, and a slide show of still s from key scenes. --Piers Ford

Takashi Ishi's visually stylish The Black Angel is a fascinating cross between Japanese gangster film and Jacobean revenge tragedy. Sent away to the US after the slaughter of her parents by rivals led by her half-sister Chaiko, Ikko (Riona Hazuki) returns determined to reclaim her yakuza kingdom. Ikko is obsessed with childish memories of Mayo the hitwoman, the original Black Angel, entrusted with getting her out of the country. The intervening 14 years have been hard on Mayo--being the Black Angel is tough on the nerves--and she is hired to kill Ikko, not realising they have met before.

This is a tragic film in which three strong women are destined to destroy each other through the trickery of male betrayal; from the beginning, as a child is smuggled away and a mother told the infant is dead, it is clear that we are in a land of myth, with no happy endings. A night time Tokyo of bright lights and dark shadows, of dead-end corridors and escalators that lead you only to your death, is provided as a moody backdrop. Takashi's inventive set pieces of mood and action include a shootout in a strip club set to Verdi's Requiem.

On the DVD: The Black Angel is presented on disc in widescreen, while the moody, atmospheric score is done full justice by the Dolby Digital soundtrack. The only special features are filmographies and biographies, production stills and the theatrical trailer. --Roz Kaveney