Haydn's oratorio Die Schöpfung ("The Creation") recounts Genesis via Milton's Paradise Lost, translated into German and reworked into the finished libretto by the Baron van Swieten. It is an intensely felt masterpiece, Haydn later saying, "I was never so pious as during the time when I was working on The Creation: I fell to my knees daily and asked God to give me the strength for a favourable completion of the work." The music alternates thrilling choral writing with moving solo parts, and bass Rene Pape and soprano Edith Mathis are especially fine. This DVD release presents a 1992 performance originally shot for video in an unnamed but beautiful and ornate Baroque location. The notes record that at the public premiere in Vienna in 1799, a small book containing van Swisten's libretto was given to each member of the audience "So that ever'body unnerstands what the music wanted t'say." It is ironic that this release contains neither the libretto nor subtitles. This is a musical drama, and the text is vitally important for more than superficial appreciation, such that those unfamiliar with the work may find greater reward in John Eliot Gardiner's 1997 CD version.

On the DVD: The disc contains a clean, sharp 4:3 ratio transfer from the original video programme with minimal evidence of grain. The sound is stereo PCM and generally good, though in some of the more full-blooded passages the recording of the choir is a little constricted and even harsh. There are no extra features of any kind, though being Region 0 the disc will play in any DVD machine. --Gary S. Dalkin

Despite being overshadowed by the welter of inferior, identikit cockney gangster movies, The Criminal is an invigorating and sophisticated crime thriller; deftly handling its theme of conspiracy, tinged with subtle comic moments, yet rife with tension and paranoia. In an assured performance of complexity, Steven Mackintosh plays J, a musician whose chance meeting with a beautiful blonde (Natasha Little in perfect femme-fatale form) brings some adventure in to his uneventful life. When she is brutally murdered, the unsuspecting and confused J is thrust in to a nightmare of corruption and conspiracy, doggedly pursued by two police officers (the superbly foul-mouthed Bernard Hill and Holly Aird) as well as a shadowy criminal elite (watch for a wonderful cameo from comedian Eddie Izzard as a shady informant). A thoroughly impressive debut from director Julian Simpson, the film maintains an uneasy, claustrophobic atmosphere, bolstered by Simpson's ear for decent dialogue (particularly the innovative opening), storytelling prowess and visual flair. Fresh, imaginative and enthralling, The Criminal is a gem waiting to be discovered and a perfect antidote to lazy gangster cash-ins.

On The DVD: director Simpson offers an informative and chatty commentary that provides excellent insight into how such a visually stylish film was made so economically. The cast and crew also offer interview soundbites, as well as biographies and a trailer. --Danny Graydon

The Crimson Rivers is an openly acknowledged French attempt to make a big Hollywood-style serial-killer thriller. Jean--Ronin(1997)--Reno is Niemans, who while investigating the case of a horrifically mutilated body finds himself partnered with Kerkerian, a younger detective played by Vincent Cassell, (La Haine). Set in beautiful mountain country and shot in CinemaScope by Thierry Arbogast (Leon), it looks fabulous. Kassovitz packs the frame with stylish flourishes from a breathtaking helicopter shot in homage to The Shining (1980), to a lavish stairwell tracking shot inspired by Vertigo (1958). With a sumptuously layered score and some superbly achieved special effects The Crimson Rivers has all the expensive sheen of the American movies it imitates. Unfortunately it also proves Europeans can make films as technically accomplished but ludicrously plotted as Hollywood can: for what begins as a tense and unsettling police procedural, mutates into an action movie where the details make no sense. Even the Boys From Brazil inspired plot is ludicrous. Demonstrating Kassovitz has seen plenty of Brian De Palma and Dario Argento movies, The Crimson Rivers entertains despite its own absurdity, and should see the director following Luc Besson to Hollywood to make even bigger and dumber blockbusters.

On the DVD: Despite not being labelled a special edition this two disc set is one of the most impressive releases on DVD this year; all the more remarkable for being a French film barely seen in UK cinemas. The 2.35-1 anamorphically enhanced transfer is virtually flawless while the Dolby Digital 5.1 sound is superb. Apart from the original French soundtrack there are English and Spanish dubbed versions, and subtitles in 20 languages (including English and French). The first disc includes three trailers, plus three more for other Columbia releases, and two commentary tracks. The first features Reno, Cassel and Kassovitz--all talking at full speed providing a wealth of information. The second--a commentary by composer Bruno Coulais--offers a real insight into the use of music in film as he explains his approach to specific scenes and his overall philosophy of film scoring. This track also features the score isolated in Dolby Digital 5.1, though Colais does talk over the beginning of some cues.

The second disc contains over two hours of documentary material. First is a serious 52-minute making-of, in which cast and director explain how the film was constantly re-written, going so far as to admit it makes no sense. Further documentaries are on "The Scalpel Scene" (26 min) and the "making of the corpse" (9 min) used in the opening scenes. There is seven minutes on shooting the martial arts fight, with or without commentary, nine minutes on shooting the car chase and a section playing the chase alongside the original storyboards, with or without commentary. A documentary on filming the mountain climax (10 min) and a further documentary on creating a digital avalanche (15 min), plus a multi-angle feature presenting the scene as storyboards, edited rushes, special effects or outtakes. The Production Designer archives (13 min) covers the sets. Additionally there is footage from the Far East promotional tour, a poster gallery, filmographies of Cassel, Reno and Kassovitz, the complete storyboards for four sequences, including the never-filmed originally planned opening and a gallery of on-set still photographs. It's a veritable "how to make a blockbuster" on two shiny discs. --Gary S Dalkin

Freddie Gale is a seedy jeweler who has sworn to kill the drunk driver who killed his little girl.

The Crow set the standard for dark and violent comic-book movies (like Spawn or director Alex Proyas's superior follow-up, Dark City), but it will forever be remembered as the film during which star Brandon Lee (son of martial arts legend Bruce Lee) was accidentally killed on the set by a loaded gun. The filmmakers were able to digitally sample what they'd captured of Lee's performance and piece together enough footage to make the film releasable. Indeed, it is probably more fascinating for that post-production story than for the tale on the screen. The Crow is appropriately cloaked in ominous expressionistic shadows, oozing urban dread and occult menace from every dank, concrete crack, but it really adds up to a simple and perfunctory tale of ritual revenge. Guided by a portentous crow (standing in for Poe's raven), Lee plays a deceased rock musician who returns from the grave to systematically torture and kill the outlandishly violent gang of hoodlums who murdered him and his fiancée the year before. The film is worth watching for its compelling visuals and genuinely nightmarish, otherworldly ambience. --Jim Emerson