An impressively rigorous, unsentimental, and harrowing look at combat during World War II, Band of Brothers follows a company of airborne infantry—Easy Company—from boot camp through the end of the war. The brutality of training takes the audience by increments to the even greater brutality of the war; Easy Company took part in some of the most difficult battles, including the D-day invasion of Normandy, the failed invasion of Holland, and the Battle of the Bulge, as well as the liberation of a concentration camp and the capture of Hitler's Eagle's Nest. But what makes these episodes work is not their historical sweep but their emphasis on riveting details (such as the rattle of a plane as the paratroopers wait to leap, or a flower in the buttonhole of a German soldier) and procedures (from military tactics to the workings of bureaucratic hierarchies). The scope of this miniseries (10 episodes, plus an actual documentary filled with interviews with surviving veterans) allows not only a thoroughness impossible in a two-hour movie, but also captures the wide range of responses to the stress and trauma of war—fear, cynicism, cruelty, compassion, and all-encompassing confusion. The result is a realism that makes both simplistic judgments and jingoistic enthusiasm impossible; the things these soldiers had to do are both terrible and understandable, and the psychological price they paid is made clear. The writing, directing, and acting are superb throughout. The cast is largely unknown, emphasizing the team of actors as a whole unit, much like the regiment; Damian Lewis and Ron Livingston play the central roles of two officers with grit and intelligence. Band of Brothers turns a vast historical event into a series of potent personal experiences; it's a deeply engrossing and affecting accomplishment. —Bret Fetzer

Buffy Summers (Sarah Michelle Gellar) looks like your typical perky high-schooler, and like most, she has her secret fears and anxieties. However, while most teens are worrying about their next date, their next zit, or their next term paper, Buffy's angsting over the next vampire she has to slay. See, Buffy, a young woman with superhuman strength, is the "chosen one," and she must help rid the world of evil, namely by staking demons. The exceptional first season of Buffy the Vampire Slayer introduces us to the treacherous world of Sunnydale High School (where Buffy moved after torching her previous high school's gym). The characters there include "watcher" Giles (Anthony Stewart Head) and the original "Scooby Gang" members—friendly geek Xander (Nicholas Brendon), computer whiz Willow (Alyson Hannigan), and snobbish popular girl Cordelia (Charisma Carpenter)—who aid Buffy in her quest. Those used to the darker tone that Buffy took in its later seasons will be surprised by the lighter feeling these first 12 episodes have—it's kind of like Buffy 90210 as the cast grapples with regular teen problems in addition to saving the world from demonic darkness. Fans of the show will enjoy the crisp writing, the phenomenal chemistry of the cast (already well-established within the first few episodes), and the introduction to characters that would stay for many seasons, including moody vampire Angel (David Boreanaz). Through it all, Gellar carries the series with amazing confidence, whether conveying the despair of high school or dispatching various demons—she's one of TV's most distinctive and strongest heroines. —Mark Englehart

He's hunky, he's brooding, he's a do-gooder, and he was Buffy's first boyfriend. Angel, the tortured vampire destined to walk the earth with a soul, got his own series after three seasons on Buffy the Vampire Slayer and did what any new star might do: he moved to L.A. (the City of Angels—get it?) and set up shop. Angel (co-created by Buffy mastermind Joss Whedon) finds the titular vampire (David Boreanaz) as a kind of supernatural private investigator, fighting evil one case at a time and, like his ex-girlfriend, keeping the world from getting destroyed by vengeful demons and such.

A darker, more film noir version of Buffy, Angel lacked the peppy humor that permeated Sunnydale but more than made up for it in its soul-wrenching gravitas, and it elevated Boreanaz to leading-man status, a role he filled out ably and then some. Initially, the stoic vampire was paired with Irish demon Doyle (the late Glenn Quinn) and fellow Sunnydale transplant Cordelia (Charisma Carpenter), but Angel finally found its footing when Doyle was dispatched (giving his powers of precognition to Cordelia) and replaced by Buffy alum Wesley (Alexis Denisof), a fallen watcher who, like his friends, was hoping for a new start in L.A. However, pesky law firm Wolfram and Hart (a front for the demon mafia, as it were) reared its ugly head and discovered Angel's presence, thus setting the stage for a battle of good and evil—and if you're a regular Joss Whedon fan, you know that it's a never-ending war.

This first season features guest appearances by various Buffy characters, including werewolf boy Oz (Seth Green), slayer Faith (Eliza Dushku), deliciously evil vamp Darla (Julie Benz), and Buffy herself (Sarah Michelle Gellar), all of whom helped get the show off and running in style. —Mark Englehart

Such a simple idea—yet so fiendishly complex in the execution. 24, as surely everyone knows by now, is a thriller that takes places over 24 hours, midnight to midnight, in 24 one-hour episodes (well, 45-minute episodes if you subtract the commercials). Everything takes place in real time, which means no flashbacks, no flash-forwards, no handy time-dissolves. Every strand of the plot has to be dovetailed and interlocked so things happen just when they should, in the right amount of time. Not that easy.

Creator Robert Cochran and his team of writers and directors have done an impressive job of putting the jigsaw together and keeping the tension ratcheted up high, as federal agent Jack Bauer (Kiefer Sutherland) runs around L.A. trying to stall an assassination attempt on an African American presidential candidate and rescue his wife and daughter from the clutches of the Balkan baddies. Twists, turns, revelations, and cliffhangers are tossed at us with satisfying regularity. It's not perfect: we get some hokey plot devices (instant amnesia, anybody?); the final twist makes no sense whatsoever; there are altogether too many huggy family moments; and as for Dennis Hopper's "Serbian" accent....

Even so, this is undeniably mold-breaking TV. Sutherland, rescuing his career from the doldrums in one heroic leap, fully deserves his Golden Globe. Sets and locations are artfully deployed, and Sean Callery's score is a powerful, brooding presence. Like Murder One and The Sopranos, 24 is one of those series that future TV thrillers will be measured against. —Philip Kemp

Ten minutes of X-Men deleted scenes (most of them superfluous) are viewable separately or integrated into the complete film, with an onscreen symbol to mark when a deleted scene has been inserted. "The Mutant Watch" is a 23-minute promotional featurette originally broadcast on Fox TV at the time of the film's release, and combines interview clips with a "mockumentary" news profile of Senator Kelly (Bruce Davison) and his campaign to promote "mutant registration." Excerpts from Charlie Rose's interview with director Bryan Singer are worthwhile but too brief: the entire interview should have been included. Hugh Jackman's screen test (with costar Anna Paquin) provides an interesting glimpse of the casting process. The DVD's features are rounded out by a standard variety of production and costume sketches, two computer-generated "animatics" showing the preparation of action sequences, plus TV spots and theatrical trailers. —Jeff Shannon

Steven Spielberg's 1982 hit about a stranded alien and his loving relationship with a fatherless boy (Henry Thomas) struck a chord with audiences everywhere, and it furthered Spielberg's reputation as a director of equally strong commercial sensibilities and classical leanings. Henry Thomas gives a strong, emotional performance as E.T.'s young friend, Robert MacNaughton and Drew Barrymore make a solid impression as his siblings, and Dee Wallace is lively as the kids' mother. The special effects almost look a bit quaint now with all the computer advancements that have occurred since, but they also have more heart behind them than a lot of what we see today. —Tom Keogh

Director Paul Verhoeven and star Arnold Schwarzenegger have their own ideas about what's really going on in Total Recall, and offer an entertaining commentary track on Artisan's special limited edition. They make their case, to the glee of conspiracy buffs, by pointing out every clue and discussing every twist in perspective. The original documentary featurette "Imagining Total Recall" crams dozens of interviews into a tight, if brief, 30-minute program covering the entire production history, and "Visions of Mars" is a too-brief six-minute piece on the real red planet. Along with the galleries of storyboards and conceptual art and production stills are the complete "Rekall Virtual Vacation" clips glimpsed early in the film. The collector's metal "Mars" case is a fancy tobacco tin with a cratered surface, not particularly practical but a great display piece. —Sean Axmaker

Upon its 2000 release, this two-disc set could have been lauded as the most extensive DVD ever produced. Not that the vast materials presented here are new; many were released previously on DVD and laserdisc. The important additions are an impressive DTS and Dolby Digital 5.1 soundtrack along with a remastered picture. Along with two versions of the film, the numerous special effects are broken down in the impressive Supplemental Materials section. James Cameron's complete script and over 700 storyboards are included; they can be viewed separately or together in the DVD-ROM supplement. There's even the ultimate Easter egg: a third version of the film for those who dig deep enough. —Doug Thomas

This is the film that cemented Schwarzenegger's spot in the action-brawn firmament, and it was well deserved. He's chilling as the futuristic cyborg who kills without fear, without love, without mercy. James Cameron's story and direction are pared to the bone and all the more creepy. But don't overlook the contributions of Linda Hamilton, who more than holds her own as the Terminator's would-be victim, Sarah Connor—thus creating, along with Sigourney Weaver in Alien, a new generation of rugged, clear-thinking female action stars. It's surprising how well this film holds up, and how its minimalist, malevolent violence is actually way scarier than that of its far more expensive, more effects-laden sequel. —Anne Hurley

Filled out with about eight minutes of additional footage, this deluxe Superman almost doubles Marlon Brando's screen time with added scenes on Krypton and in the Fortress of Solitude and fills out the early life of Clark Kent, contributing to a more mythic portrait of America's greatest hero. There is also more disaster footage during the earthquake climax, and Lex Luthor's "Gauntlet of Death" sequence (seen on network TV broadcasts) is reinstated.

The commentary by director Richard Donner and "creative consultant" Tom Mankeiwicz lacks the focus and detail of a filmmaker really grappling with his work (it has been almost 25 years, after all), but it's full of interesting asides, casting trivia (Goldie Hawn as Miss Teschmacher?), and the good-humored byplay of two old friends.

The three documentary featurettes hosted by Marc McClure (Jimmy Olsen) are essentially chapters of a comprehensive behind-the-scenes study, full of illuminating interviews (Donner and Mankeiwicz are more revealing here), special-effects tests (including all the failed attempts to make you believe a man can fly), and the bizarre true story of the unceremonious firing of Richard Donner after he had turned Superman into a worldwide smash and shot about 70 percent of the sequel.

A separate supplement features screen tests for Christopher Reeve and five different Lois Lanes (including a giggly Leslie Ann Warren and a snappy Stockard Channing), and two legendary, delightfully demented scenes featuring Lex Luthor's snarling "babies" (also seen on TV broadcasts) are featured in the gallery of Deleted Scenes. —Sean Axmaker

Before they unleashed the idiotic mayhem of Independence Day and Godzilla, the idea-stealing team of director Roland Emmerich and producer-screenwriter Dean Devlin concocted this hokey hit about the discovery of an ancient portal capable of zipping travelers to "the other side of the known universe." James Spader plays the Egyptologist who successfully translates the Stargate's hieroglyphic code, and then joins a hawkish military unit (led by Kurt Russell) on a reconnaissance mission to see what's on the other side. They arrive on a desert world with cultural (and apparently supernatural) ties to Earth's ancient Egypt, where the sun god Ra (played by Jaye Davidson from The Crying Game) rules a population of slaves with armored minions and startlingly advanced technology. After being warmly welcomed into the slave camp, the earthlings encourage and support a rebellion, and while Russell threatens to blow up the Stargate to prevent its use by enemy forces, the movie collapses into a senseless series of action scenes and grandiose explosions. It's all pretty ridiculous, but Stargate found a large and appreciative audience, spawned a cable-TV series, and continues to attract science fiction fans who are more than willing to forgive its considerable faults. —Jeff Shannon

For devoted fans and nonfans alike, Spider-Man offers nothing less—and nothing more—than what you'd expect from a superhero blockbuster. Having proven his comic-book savvy with the original Darkman, director Sam Raimi brings ample energy and enthusiasm to Spidey's origin story, nicely establishing high-school nebbish Peter Parker (Tobey Maguire) as a brainy outcast who reacts with appropriate euphoria—and well-tempered maturity—when a "super-spider" bite transforms him into the amazingly agile, web-shooting Spider-Man. That's all well and good, and so is Kirsten Dunst as Parker's girl-next-door sweetheart. Where Spider-Man falls short is in its hyperactive CGI action sequences, which play like a video game instead of the gravity-defying exploits of a flesh-and-blood superhero. Willem Dafoe is perfectly cast as Spidey's schizoid nemesis, the Green Goblin, and the movie's a lot of fun overall. It's no match for Superman and Batman in bringing a beloved character to the screen, but it places a respectable third. —Jeff Shannon