An undemanding slice of Irish whimsy, The Closer You Get may not hit the crowd-pleasing heights of Waking Ned, but ultimately settles in to a comfortable, enticing groove inhabited by the likes of TV's Ballykissangel. The debut feature of Aileen Ritchie and set in a desolate coastal town of Kilvara in County Donegal, the story concerns the lovelorn male townsfolk who advertise for Gaelic-loving women in a Florida newspaper. This action stirs the jealousies of Kilvara's women, who respond by inviting a group of Spaniards to the local dance. A battle of the sexes ensues ultimately resulting in the Guinness-swilling eejits realising that they shouldn't squander what they've got. Simple moral, simple clichés, simple humour, but executed with a considerable charm that makes it an undeniably enjoyable and light-hearted film. Ian Hart is particularly likable as local butcher Kieran (bizarrely dyeing his hair bright blonde to impress the ladies) while he and his boredom-numbed mates are more than matched by the feisty likes of Niamh Cusack and Cathleen Bradley as Kilvara's ignored beauties. Add in some beautiful locations and what you have is an inoffensive little charmer that will suit any lazy afternoon's viewing--and what's wrong with that? --Danny Graydon

The always popular Gerard Depardieu (102 DALMATIANS, VATEL) stars in a warmly engaging comedy that shows how one little white lie can change everything!

During the Second World War the Germans put many of the Allied prisoners-of-war (POWs) who had proved consistent escapees together in a maximum security fortress, the very name of which became a legend. Based on the book by Colditz escapee Major Pat Reid, The Colditz Story (1957) documents the further, sometimes successful, escape attempts of these extraordinarily brave, resourceful and indomitable men. Starring John Mills, Eric Portman, Bryan Forbes and Anton Diffring, and co-written and directed by Guy Hamilton, who later made The Battle of Britain (1969), this is a sober, even-handed account, that is gripping and informative, yet not without humour. Sterling performances from the cast of stalwart actors adds up to a British cinema classic. Such is the fascination of Colditz that in 1972-3 the BBC made a very successful drama series staring Jack Hedley, Bernard Hempton, Robert Wagner and David McCallum, while in 2000 Channel 4 offered a superb three-part documentary, Escape from Colditz. In contrast to the semi-documentary feel of The Colditz Story David Lean's classic The Bridge on the River Kwai, from the same year, is an epic and powerful account of POW life in barbaric Japanese prison camps. --Gary S. Dalkin

Martin Scorcese handles directing duties in this 1986 sequel to the classic 1961 film The Hustler, which marks the return of Paul Newman to the role of pool shark Fast Eddie Felson. Anxious to break into the big time again, Eddie finds a talented protégé (Tom Cruise) to groom; but with the addition of the latter's manipulative girlfriend (Mary Elizabeth Mastrantonio) and the wild streak in Cruise's character, the trio make for a fascinating portrait in group psychology. The cast is brilliant, the script by Richard Price (Clockers) is a paragon of tightly controlled character study and drama (at least in the film's first half), and Scorcese and cinematographer Michael Ballhaus make an ornate show of the collision and flight of pool balls through space--something of a metaphor for the dynamics among the three principals. The film is generally regarded as weaker in its second half, and rightly so, as everything that was interesting in the first place disappears. Still, Newman won a deserved Oscar for his performance. --Tom Keogh

Steven Spielberg took a melodramatic DW Griffith-inspired approach to filming Alice Walker's novel The Color Purple. His tactics made the film controversial, but also a popular hit. You can argue with the appropriateness of Spielberg's decision, but his astonishing facility with images is undeniable--from the exhilarating and eye-popping opening shots of children playing in paradisiacal purple fields to the way he conveys the brutality of a rape by showing hanging leather belts banging against the head of the shaking bed.

In a way it's a shame that Whoopi Goldberg, a stage monologist who made her screen debut in this movie, went on to become so famous, because it was, in part, her unfamiliarity that made her understated performance as Celie so effective. (This may be the first and last time that the adjective "understated" can be applied to Goldberg.) Nominated for 11 Academy Awards, including best picture and actress (supporting players Oprah Winfrey and Margaret Avery were also nominated), it was quite a scandal--and a crushing blow to Spielberg--when The Color Purple won none. --Jim Emerson, Amazon.com

On the DVD: The Color Purple makes a sumptuous transfer to DVD in this special edition. The lush and vibrant cinematography is well served by the widescreen format; Quincy Jones's warmly enveloping score, shot through with jazz age references, is superbly enhanced by surround sound. The extras are ideal companions to the main picture, detailing the passage of Alice Walker's novel from book to screen. Walker herself recalls the anxieties of the process, while director Spielberg and various cast members remember many poignant moments during and after filming, reminding us with a jolt that this beautifully made, hugely popular and inspirational film didn't win a single Academy Award. --Piers Ford

Based on an Ian McEwen novel, The Comfort of Strangers is directed by Paul Schrader at his most portentous. A young couple holidaying in Venice are taken up by an older more sophisticated pair. Christopher Walken as the Eurotrashy Roberto portrays with considerable vigour the sort of smooth stranger from whom anyone who has ever seen this sort of movie ought to run a mile, and Helen Mirren as his complaisant wife is hardly less sinister. Rupert Everett and Natasha Richardson are believably obtuse as the lovers who fail to understand exactly what they are being sucked into.

This ought to be a far better film than it is: Harold Pinter's script is elliptically menacing and Angelo Badalamenti's score attractively gloomy. But in the end The Comfort of Strangers presents a rather low-rent vision of decadence: Roberto's praise of Margaret Thatcher and habit of photographing the unwary and beautiful are not quite enough to make the film's shocking climax entirely plausible. The DVD contains no additional features other than the obligatory theatrical trailer. --Roz Kaveney

An irresistible, comic drama from director Alan Parker (Evita, Mississippi Burning), overflowing and alive with passion, humor and music, The Commitments showcases some old R&B standards in a new light. A headstrong, fast-talking, ambitious young Dubliner (Robert Arkins) fancies himself a promoter of talent, and sets about assembling and packaging a local Irish R&B band. His group of self-absorbed, backbiting, but stunningly talented individuals begin to succeed beyond his wildest dreams, until petty jealousies and recrimination threaten to scuttle the whole deal. A moody, vivid and soulful exploration of the Dublin club scene as well as a showcase for some wonderful unknown actors, the film (and its wonderful soundtrack) also features the actual band covering classic soul tunes from the likes of Otis Redding and Sam and Dave. It's that combination of soul and soul music that makes The Commitments a special little film. --Robert Lane, Amazon.com --This text refers to the VHS edition of this video