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When Bryan Singer brought Marvel's X-Men to the big screen, ... Read more

When Bryan Singer brought Marvel's X-Men to the big screen, Magneto and Professor X were elder statesmen, but Matthew Vaughn (Kick-Ass) travels back in time to present an origin story--and an alternate version of history. While Charles Xavier (Laurence Belcher) grows up privileged in New York, Erik Lehnsherr (Bill Milner) grows up underprivileged in Poland. As children, the mind-reading Charles finds a friend in the shape-shifting Raven (Jennifer Lawrence) and Erik finds an enemy in Sebastian Shaw (Kevin Bacon), an energy-absorbing Nazi scientist who treats the metal-bending lad like a lab rat. By 1962, Charles (James McAvoy) has become a swaggering genetics professor and Erik (Michael Fassbender, McAvoy's Band of Brothers costar) has become a brooding agent of revenge. CIA agent Moira (Rose Byrne) brings the two together to work for Division X. With the help of MIB (Oliver Platt) and Hank (A Single Man's Nicholas Hoult), they seek out other mutants, while fending off Shaw and Emma Frost (Mad Men's January Jones), who try to recruit them for more nefarious ends, leading to a showdown in Cuba between the United States and the Soviet Union, the good and bad mutants, and Charles and Erik, whose goals have begun to diverge. Throughout, Vaughn crisscrosses the globe, piles on the visual effects, and juices the action with a rousing score, but it's the actors who make the biggest impression as McAvoy and Fassbender prove themselves worthy successors to Patrick Stewart and Ian McKellen. The movie comes alive whenever they take centre stage, and dies a little when they don't. For the most part, though, Vaughn does right by playing up the James Bond parallels and acknowledging the debt to producer Bryan Singer through a couple of clever cameos. --Kathleen C. Fennessy Minimize

When Bryan Singer brought Marvel's X-Men to the big screen, ... Read more

When Bryan Singer brought Marvel's X-Men to the big screen, Magneto and Professor X were elder statesmen, but Matthew Vaughn (Kick-Ass) travels back in time to present an origin story--and an alternate version of history. While Charles Xavier (Laurence Belcher) grows up privileged in New York, Erik Lehnsherr (Bill Milner) grows up underprivileged in Poland. As children, the mind-reading Charles finds a friend in the shape-shifting Raven (Jennifer Lawrence) and Erik finds an enemy in Sebastian Shaw (Kevin Bacon), an energy-absorbing Nazi scientist who treats the metal-bending lad like a lab rat. By 1962, Charles (James McAvoy) has become a swaggering genetics professor and Erik (Michael Fassbender, McAvoy's Band of Brothers costar) has become a brooding agent of revenge. CIA agent Moira (Rose Byrne) brings the two together to work for Division X. With the help of MIB (Oliver Platt) and Hank (A Single Man's Nicholas Hoult), they seek out other mutants, while fending off Shaw and Emma Frost (Mad Men's January Jones), who try to recruit them for more nefarious ends, leading to a showdown in Cuba between the United States and the Soviet Union, the good and bad mutants, and Charles and Erik, whose goals have begun to diverge. Throughout, Vaughn crisscrosses the globe, piles on the visual effects, and juices the action with a rousing score, but it's the actors who make the biggest impression as McAvoy and Fassbender prove themselves worthy successors to Patrick Stewart and Ian McKellen. The movie comes alive whenever they take centre stage, and dies a little when they don't. For the most part, though, Vaughn does right by playing up the James Bond parallels and acknowledging the debt to producer Bryan Singer through a couple of clever cameos. --Kathleen C. Fennessy Minimize

When Bryan Singer brought Marvel's X-Men to the big screen, ... Read more

When Bryan Singer brought Marvel's X-Men to the big screen, Magneto and Professor X were elder statesmen, but Matthew Vaughn (Kick-Ass) travels back in time to present an origin story--and an alternate version of history. While Charles Xavier (Laurence Belcher) grows up privileged in New York, Erik Lehnsherr (Bill Milner) grows up underprivileged in Poland. As children, the mind-reading Charles finds a friend in the shape-shifting Raven (Jennifer Lawrence) and Erik finds an enemy in Sebastian Shaw (Kevin Bacon), an energy-absorbing Nazi scientist who treats the metal-bending lad like a lab rat. By 1962, Charles (James McAvoy) has become a swaggering genetics professor and Erik (Michael Fassbender, McAvoy's Band of Brothers costar) has become a brooding agent of revenge. CIA agent Moira (Rose Byrne) brings the two together to work for Division X. With the help of MIB (Oliver Platt) and Hank (A Single Man's Nicholas Hoult), they seek out other mutants, while fending off Shaw and Emma Frost (Mad Men's January Jones), who try to recruit them for more nefarious ends, leading to a showdown in Cuba between the United States and the Soviet Union, the good and bad mutants, and Charles and Erik, whose goals have begun to diverge. Throughout, Vaughn crisscrosses the globe, piles on the visual effects, and juices the action with a rousing score, but it's the actors who make the biggest impression as McAvoy and Fassbender prove themselves worthy successors to Patrick Stewart and Ian McKellen. The movie comes alive whenever they take centre stage, and dies a little when they don't. For the most part, though, Vaughn does right by playing up the James Bond parallels and acknowledging the debt to producer Bryan Singer through a couple of clever cameos. --Kathleen C. Fennessy Minimize

This 1988 comedy starred and was scripted by John Cleese an ... Read more

This 1988 comedy starred and was scripted by John Cleese and directed by Charles Crichton, veteran Ealing Comedy director. After 1986's Clockwise--in which he played a manic loser similar to Basil Fawlty--A Fish Called Wanda saw Cleese opting for a more sympathetic lead role. Cleese plays Archie Leach (Cary Grant's real name), a barrister living a typically English life of quiet desperation, who falls prey to the American charms of Jamie Lee Curtis. Posing as a law student, she's actually involved in a diamond robbery with psychotic but occasionally clueless Kevin Kline ("The London Underground is not a revolutionary movement!") and Michael Palin, an animal rights' activist. A Fish Called Wanda is, typically of Cleese, well constructed but the romantic heart of the movie softens it a little. It was intended as a satire on Anglo-American differences but most people remember it for a running joke involving squashed dogs, the chips up Palin's nose and the scene where Cleese is hung out of a window by his ankles. The same cast reassembled for 1997's vastly inferior Fierce Creatures.--David Stubbs Minimize

When Bryan Singer brought Marvel's X-Men to the big screen, ... Read more

When Bryan Singer brought Marvel's X-Men to the big screen, Magneto and Professor X were elder statesmen, but Matthew Vaughn (Kick-Ass) travels back in time to present an origin story--and an alternate version of history. While Charles Xavier (Laurence Belcher) grows up privileged in New York, Erik Lehnsherr (Bill Milner) grows up underprivileged in Poland. As children, the mind-reading Charles finds a friend in the shape-shifting Raven (Jennifer Lawrence) and Erik finds an enemy in Sebastian Shaw (Kevin Bacon), an energy-absorbing Nazi scientist who treats the metal-bending lad like a lab rat. By 1962, Charles (James McAvoy) has become a swaggering genetics professor and Erik (Michael Fassbender, McAvoy's Band of Brothers costar) has become a brooding agent of revenge. CIA agent Moira (Rose Byrne) brings the two together to work for Division X. With the help of MIB (Oliver Platt) and Hank (A Single Man's Nicholas Hoult), they seek out other mutants, while fending off Shaw and Emma Frost (Mad Men's January Jones), who try to recruit them for more nefarious ends, leading to a showdown in Cuba between the United States and the Soviet Union, the good and bad mutants, and Charles and Erik, whose goals have begun to diverge. Throughout, Vaughn crisscrosses the globe, piles on the visual effects, and juices the action with a rousing score, but it's the actors who make the biggest impression as McAvoy and Fassbender prove themselves worthy successors to Patrick Stewart and Ian McKellen. The movie comes alive whenever they take centre stage, and dies a little when they don't. For the most part, though, Vaughn does right by playing up the James Bond parallels and acknowledging the debt to producer Bryan Singer through a couple of clever cameos. --Kathleen C. Fennessy Minimize

"I'm not a drinker--I'm a drunk." These words, and the seri ... Read more

"I'm not a drinker--I'm a drunk." These words, and the serious message behind them, were still potent enough in 1945 to shock audiences flocking to The Lost Weekend. The speaker is Don Birnam (Ray Milland), a handsome, talented, articulate alcoholic. The writing team of producer Charles Brackett and director Billy Wilder pull no punches in their depiction of Birnam's massive weekend bender, a tailspin that finds him reeling from his favorite watering hole to Bellevue Hospital. Location shooting in New York helps the street-level atmosphere, especially a sequence in which Birnam, a budding writer, tries to hock his typewriter for booze money. He desperately staggers past shuttered storefronts--it's Yom Kippur, and the pawnshops are closed. Milland, previously known as a lightweight leading man (he'd starred in Wilder's hilarious The Major and the Minor three years earlier), burrows convincingly under the skin of the character, whether waxing poetic about the escape of drinking or screaming his lungs out in the D.T.'s sequence. Wilder, having just made the ultra-noir Double Indemnity, brought a new kind of frankness and darkness to Hollywood's treatment of a social problem. At first the film may have seemed too bold; Paramount Pictures nearly killed the release of the picture after it tested poorly with preview audiences. But once in release, The Lost Weekend became a substantial hit, and won four Oscars: for picture, director, screenplay, and actor. --Robert Horton Minimize

If a musical sci-fi satire about an alien transvestite name ... Read more

If a musical sci-fi satire about an alien transvestite named Frank-n-Furter, who is building the perfect man while playing sexual games with his virginal visitors, sounds like an intriguing premise for a movie, then you're in for a treat. Not only is The Rocky Horror Picture Show all this and more, but it stars the surprising cast of Susan Sarandon and Barry Bostwick (as the demure Janet and uptight Brad, who get lost in a storm and find themselves stranded at Frank-n-Furter's mansion), Meat Loaf (as the rebel Eddie), Charles Gray (as our criminologist and narrator) and, of course, the inimitable Tim Curry as our "sweet transvestite from Transsexual, Transylvania". Upon its release in 1975, the film was an astounding flop. But a few devotees persuaded a New York cinema to show it at midnight, and thus was born one of the ultimate cult films of all time. The songs are addictive (just try getting "The Time Warp" or "Toucha Toucha Touch Me" out of your head), the raunchiness amusing and the plot line utterly ridiculous--in other words, this film is simply tremendous good fun. The downfall, however, is that much of the amusement is found in the audience participation that is obviously missing from a video version (viewers in cinemas shout lines at the screen and use props--such as holding up newspapers and shooting water guns during the storm and throwing rice during a wedding scene). Watched alone as a straight movie, Rocky Horror loses a tremendous amount of its charm. Yet, for those who wish to perfect their lip-synching techniques for movie cinema performances or for those who want to gather a crowd around the TV at home for some good, old-fashioned, rowdy fun, this film can't be beat. --Jenny Brown Minimize

Political drama doesn't get more near the knuckle than Mich ... Read more

Political drama doesn't get more near the knuckle than Michael Dobbs' House of Cards trilogy, adapted for the screen by Andrew Davies and originally broadcast in the post-Thatcher years of the early 1990s. A splendid dissection of naked ambition, greed and rampant hypocrisy in the corridors of power, the original four-part series House of Cards documents in thrilling detail the rise of Tory Chief Whip Francis Urquhart (magnificent Ian Richardson), a man who likes to "put the stick about a bit" and has unwavering contempt for those with "no background, no bottom". With the downfall of Margaret Thatcher, a bitter internecine power struggle ensues within the Conservative Party. Urquhart schemes more devilishly than Iago to depose Thatcher's colourless John Major-style successor. And even Machiavelli would baulk at Urquhart's methods: any and every act--including murder--are legitimate as the end very much justifies the means. Idealistic journalist Matti Storin (Susannah Harker) becomes embroiled in Urquhart's nefarious plans (and ends up in his bed) as she attempts to question him about what's really going on: "You might think so, I couldn't possibly comment," is Urquhart's mantra of hypocrisy. In To Play the King, the second part of the trilogy, we find our anti-hero comfortably installed as PM at No. 10 but facing a fresh challenge in the person of the newly crowned King (Michael Kitchen in a pitch-perfect Prince Charles impersonation), who wears his social conscience on his sleeve and publicly opposes Urquhart's hardline policies. With the help of political analyst and new mistress Sarah Harding (Kitty Aldridge), as well as that of his ambitious wife Elizabeth (Diane Fletcher), Urquhart is forced to resort to still more underhand plots. Then, in The Final Cut, we find Urquhart determined to last as long in office as Mrs Thatcher (whose statue, much to his chagrin, is about to be unveiled in front of his window). But ambitions to make a mark on the world stage, as well as his wife's desire to provide themselves a comfortable retirement nest egg, lead him into the choppy international waters of the Cyprus situation. The temptations of corrupt businessmen and his wife's goading might just have pushed Urquhart's luck too far this time. Throughout, Richardson is a delight as the hypocritical, arrogant patrician who loathes the hoi polloi whose favour he must court at election time, and manipulates all his minions with a ruthless singlemindedness of purpose. However much a monster he seems, though, the viewer might just find themselves secretly admiring his determination and his lion-like strength of will: in contrast to many drab modern politicians, at least he knows what he wants, and makes sure he gets it. If it's strong leadership you want, Urquhart's your man. On the DVD: The House of Cards trilogy has the three four-part series on three double-sided discs, with two hour-long episodes on each side of each disc. The first episodes come with a commentary from Andrew Davies and Ian Richardson, who share their memories and anecdotes. --Mark Walker Minimize

Political drama doesn't get more near the knuckle than Mich ... Read more

Political drama doesn't get more near the knuckle than Michael Dobbs' House of Cards trilogy, adapted for the screen by Andrew Davies and originally broadcast in the post-Thatcher years of the early 1990s. A splendid dissection of naked ambition, greed and rampant hypocrisy in the corridors of power, the original four-part series House of Cards documents in thrilling detail the rise of Tory Chief Whip Francis Urquhart (magnificent Ian Richardson), a man who likes to "put the stick about a bit" and has unwavering contempt for those with "no background, no bottom". With the downfall of Margaret Thatcher, a bitter internecine power struggle ensues within the Conservative Party. Urquhart schemes more devilishly than Iago to depose Thatcher's colourless John Major-style successor. And even Machiavelli would baulk at Urquhart's methods: any and every act--including murder--are legitimate as the end very much justifies the means. Idealistic journalist Matti Storin (Susannah Harker) becomes embroiled in Urquhart's nefarious plans (and ends up in his bed) as she attempts to question him about what's really going on: "You might think so, I couldn't possibly comment," is Urquhart's mantra of hypocrisy. In To Play the King, the second part of the trilogy, we find our anti-hero comfortably installed as PM at No. 10 but facing a fresh challenge in the person of the newly crowned King (Michael Kitchen in a pitch-perfect Prince Charles impersonation), who wears his social conscience on his sleeve and publicly opposes Urquhart's hardline policies. With the help of political analyst and new mistress Sarah Harding (Kitty Aldridge), as well as that of his ambitious wife Elizabeth (Diane Fletcher), Urquhart is forced to resort to still more underhand plots. Then, in The Final Cut, we find Urquhart determined to last as long in office as Mrs Thatcher (whose statue, much to his chagrin, is about to be unveiled in front of his window). But ambitions to make a mark on the world stage, as well as his wife's desire to provide themselves a comfortable retirement nest egg, lead him into the choppy international waters of the Cyprus situation. The temptations of corrupt businessmen and his wife's goading might just have pushed Urquhart's luck too far this time. Throughout, Richardson is a delight as the hypocritical, arrogant patrician who loathes the hoi polloi whose favour he must court at election time, and manipulates all his minions with a ruthless singlemindedness of purpose. However much a monster he seems, though, the viewer might just find themselves secretly admiring his determination and his lion-like strength of will: in contrast to many drab modern politicians, at least he knows what he wants, and makes sure he gets it. If it's strong leadership you want, Urquhart's your man. On the DVD: The House of Cards trilogy has the three four-part series on three double-sided discs, with two hour-long episodes on each side of each disc. The first episodes come with a commentary from Andrew Davies and Ian Richardson, who share their memories and anecdotes. --Mark Walker Minimize

Although it's not as bold as Oscar darling Chicago, The Pha ... Read more

Although it's not as bold as Oscar darling Chicago, The Phantom of the Opera continues the resuscitation of the movie musical with a faithful adaptation of Andrew Lloyd Webber's blockbuster stage musical. Emmy Rossum glows in a breakout role as opera ingénue Christine Daae, and if phantom Gerard Butler isn't Rossum's match vocally, he does convey menace and sensuality in such numbers as "The Music of the Night." The most experienced musical theater veteran in the cast, romantic lead Patrick Wilson, sings sweetly but seems wooden. The biggest name in the cast, Minnie Driver, hams it up as diva Carlotta, and she's the only principal whose voice was dubbed (though she does sing the closing-credit number, "Learn to Be Lonely," which is also the only new song). Director Joel Schumacher, no stranger to visual spectacle, seems to have found a good match in Lloyd Webber's larger-than-life vision of Gaston LeRoux's Gothic horror-romance. His weakness is cuing too many audience-reaction shots and showing too much of the lurking Phantom, but when he calms down and lets Rossum sings "Wishing You Were Somehow Here Again" alone in a silent graveyard, it's exquisite. Those who consider the stage musical shallow and overblown probably won't have their minds changed by the movie, and devotees will forever rue that the movie took the better part of two decades to develop, which prevented the casting of original principals Michael Crawford and Sarah Brightman. Still, The Phantom of the Opera is a welcome exception to the long line of ill-conceived Broadway-to-movie travesties. DVD Features The two-disc edition of The Phantom of the Opera has two major extras. "Behind the Mask: The Story of The Phantom of the Opera" is an hourlong documentary tracing the genesis of the stage show, with interviews by composer Andrew Lloyd Webber, director Harold Prince, producer Cameron Macintosh, lyricists Richard Stilgoe and Charles Hart, choreographer Gillian Lynne, and others. Conspicuously absent are stars Sarah Brightman and Michael Crawford. Both do appear in video clips, including Brightman performing with Colm Wilkinson at an early workshop, and Crawford is the subject of a casting segment. Other brief scenes from the show are represented by a 2001 production. The other major feature is the 45-minute making-of focusing on the movie, including casting and the selection of director Joel Schumacher Both are well-done productions by Lloyd Webber's Really Useful Group. The deleted scene is a new song written by Lloyd Webber and Charles Hart, "No One Would Listen," sung by the Phantom toward the end of the movie. It's a beautiful song that, along with Madame Giry's story, makes him a more sympathetic character. But because that bit of backstory already slowed down the ending, it was probably a good move to cut the song. --David Horiuchi Important note: Initial playback of this DVD defaults to the DTS (Digital Theatre System) soundtrack, therefore customers without such equipment will not hear any sound. Please note that this is NOT a fault with the DVD. If you are not in possession of a DTS compatible sound amplifier, you need to change the film's soundtrack type from the main menu. In order to do this, please follow the instructions below: 1. Click the "set-up" option. 2. Select either Dolby Digital Surround Sound or Dolby Digital Stereo as appropriate. 3. Select "Play Movie". The film will now play with a universal audible soundtrack. Minimize

Andrew Davies is the king of the BBC mini-series--his skilf ... Read more

Andrew Davies is the king of the BBC mini-series--his skilfully adapted scripts for Pride & Prejudice (the beloved Colin Firth version) and many, many more are peerless examples of classic novels done right--cunningly edited and shaped to let all the rich emotion and sharp intelligence spill over with zip and vigour. Bleak House is no exception; it's one of the best Dickens adaptations to date. The mini-series form allows Dickens' panoramic view, brimming with eccentric characters and complex turns of plot, to sprawl out without losing an iota of suspense or momentum. Two innocent young orphans (Patrick Kennedy and Carey Mulligan) are the potential heirs to a fortune, but their fates are snarled in a monumental legal battle known as Jarndyce and Jarndyce. But the heart of the story is another orphan, Esther Summerson (Anna Maxwell Martin), whose mysterious parentage proves to be intertwined with the fate of the Jarndyce wards and the aloof Lady Dedlock (Gillian Anderson, The X-Files). Dickens' story twines through an excoriating vision of the legal system to heartbreaking domestic drama to a murder investigation to near-Gothic horror, all broken into utterly delicious half-hour segments (after the hour-long opening episode). Martin is utterly beguiling, homely at one moment and luminous the next; Anderson's grippingly eerie and brittle performance will delight her fans. But to single out anyone seems absurd, because every character--from the vicious lawyer Tulkinghorn (Charles Dance, White Mischief) to the foppish parasite Skimpole (Nathaniel Parker, The Inspector Lynley Mysteries) to the simpering clerk Guppy (Burn Gorman)--is intricately drawn, all hitting a mesmerizing balance between caricature and stark emotional honesty. Bleak House demonstrates that humour, pathos, and social criticism can all be contained in one wonderfully entertaining package. --Bret Fetzer, Amazon.com Minimize

Although it's not as bold as Oscar darling Chicago, The Pha ... Read more

Although it's not as bold as Oscar darling Chicago, The Phantom of the Opera continues the resuscitation of the movie musical with a faithful adaptation of Andrew Lloyd Webber's blockbuster stage musical. Emmy Rossum glows in a breakout role as opera ingénue Christine Daae, and if phantom Gerard Butler isn't Rossum's match vocally, he does convey menace and sensuality in such numbers as "The Music of the Night." The most experienced musical theater veteran in the cast, romantic lead Patrick Wilson, sings sweetly but seems wooden. The biggest name in the cast, Minnie Driver, hams it up as diva Carlotta, and she's the only principal whose voice was dubbed (though she does sing the closing-credit number, "Learn to Be Lonely," which is also the only new song). Director Joel Schumacher, no stranger to visual spectacle, seems to have found a good match in Lloyd Webber's larger-than-life vision of Gaston LeRoux's Gothic horror-romance. His weakness is cuing too many audience-reaction shots and showing too much of the lurking Phantom, but when he calms down and lets Rossum sings "Wishing You Were Somehow Here Again" alone in a silent graveyard, it's exquisite. Those who consider the stage musical shallow and overblown probably won't have their minds changed by the movie, and devotees will forever rue that the movie took the better part of two decades to develop, which prevented the casting of original principals Michael Crawford and Sarah Brightman. Still, The Phantom of the Opera is a welcome exception to the long line of ill-conceived Broadway-to-movie travesties. DVD Features The two-disc edition of The Phantom of the Opera has two major extras. "Behind the Mask: The Story of The Phantom of the Opera" is an hourlong documentary tracing the genesis of the stage show, with interviews by composer Andrew Lloyd Webber, director Harold Prince, producer Cameron Macintosh, lyricists Richard Stilgoe and Charles Hart, choreographer Gillian Lynne, and others. Conspicuously absent are stars Sarah Brightman and Michael Crawford. Both do appear in video clips, including Brightman performing with Colm Wilkinson at an early workshop, and Crawford is the subject of a casting segment. Other brief scenes from the show are represented by a 2001 production. The other major feature is the 45-minute making-of focusing on the movie, including casting and the selection of director Joel Schumacher Both are well-done productions by Lloyd Webber's Really Useful Group. The deleted scene is a new song written by Lloyd Webber and Charles Hart, "No One Would Listen," sung by the Phantom toward the end of the movie. It's a beautiful song that, along with Madame Giry's story, makes him a more sympathetic character. But because that bit of backstory already slowed down the ending, it was probably a good move to cut the song. --David Horiuchi Important note: Initial playback of this DVD defaults to the DTS (Digital Theatre System) soundtrack, therefore customers without such equipment will not hear any sound. Please note that this is NOT a fault with the DVD. If you are not in possession of a DTS compatible sound amplifier, you need to change the film's soundtrack type from the main menu. In order to do this, please follow the instructions below: 1. Click the "set-up" option. 2. Select either Dolby Digital Surround Sound or Dolby Digital Stereo as appropriate. 3. Select "Play Movie". The film will now play with a universal audible soundtrack. Minimize

Andrew Davies is the king of the BBC mini-series--his skilf ... Read more

Andrew Davies is the king of the BBC mini-series--his skilfully adapted scripts for Pride & Prejudice (the beloved Colin Firth version) and many, many more are peerless examples of classic novels done right--cunningly edited and shaped to let all the rich emotion and sharp intelligence spill over with zip and vigour. Bleak House is no exception; it's one of the best Dickens adaptations to date. The mini-series form allows Dickens' panoramic view, brimming with eccentric characters and complex turns of plot, to sprawl out without losing an iota of suspense or momentum. Two innocent young orphans (Patrick Kennedy and Carey Mulligan) are the potential heirs to a fortune, but their fates are snarled in a monumental legal battle known as Jarndyce and Jarndyce. But the heart of the story is another orphan, Esther Summerson (Anna Maxwell Martin), whose mysterious parentage proves to be intertwined with the fate of the Jarndyce wards and the aloof Lady Dedlock (Gillian Anderson, The X-Files). Dickens' story twines through an excoriating vision of the legal system to heartbreaking domestic drama to a murder investigation to near-Gothic horror, all broken into utterly delicious half-hour segments (after the hour-long opening episode). Martin is utterly beguiling, homely at one moment and luminous the next; Anderson's grippingly eerie and brittle performance will delight her fans. But to single out anyone seems absurd, because every character--from the vicious lawyer Tulkinghorn (Charles Dance, White Mischief) to the foppish parasite Skimpole (Nathaniel Parker, The Inspector Lynley Mysteries) to the simpering clerk Guppy (Burn Gorman)--is intricately drawn, all hitting a mesmerizing balance between caricature and stark emotional honesty. Bleak House demonstrates that humour, pathos, and social criticism can all be contained in one wonderfully entertaining package. --Bret Fetzer, Amazon.com Minimize