Released in 1962, this first James Bond movie remains one of the best and serves as an entertaining reminder that the Bond series began (in keeping with Ian Fleming's novels) with a surprising lack of gadgetry and big-budget fireworks. Sean Connery was just 32 years old when he won the role of Agent 007. In his first adventure James Bond is called to Jamaica where a colleague and secretary have been mysteriously killed. With an American CIA agent (Jack Lord, pre-Hawaii Five-O), they discover that the nefarious Dr No (Joseph Wiseman) is scheming to blackmail the US government with a device capable of deflecting and destroying US rockets launched from Cape Canaveral. Of course, Bond takes time off from his exploits to enjoy the company of a few gorgeous women, including the bikini-clad Ursula Andress. She gloriously kicks off the long-standing tradition of Bond women who know how to please their favourite secret agent. A sexist anachronism? Maybe, but this is Bond at his purest, kicking off a series of movies that shows no sign of slowing down. —Jeff Shannon

Seven films. Four Bonds. One set. This sprawling collection surveys over 30 years of James Bond skullduggery, from the cold war tensions of the 1960s to the international free-for-all of the present. Sean Connery remains the coolest of the Bonds, a ruthless agent with dry martini wit and a way with the women, and in Goldfinger his steely presence helped forge the Bond formula of tongue-in-cheek wit, wondrous secret agent toys created by Q, and megalomaniac supervillains bent on world destruction. Thunderball upped the Bond ante with the most ambitious adventure—and budget—to date. Roger Moore brought an altogether lighter tone to 007 with Live and Let Die, softening Connery's rough edges with a more romantic persona as the films became even more exotic. After a brief digression into outer space, For Your Eyes Only returned Bond to globetrotting high adventure and teamed him with his most endearing ally (Topol as a gregarious smuggler). Timothy Dalton made his second and final appearance as Bond in Licence to Kill, the toughest of the Bond films since Connery's early efforts. Though not a fan favorite, it's a sleek, solid adventure with an edge missing from the Moore pictures. Pierce Brosnan is the latest to take on 007's licence to kill, combining the best of Connery's cool and Moore's humor. GoldenEye is the best Bond film in years, a grand globetrotting adventure with lovely Bond girls and a tough new M (Judy Dench). Tomorrow Never Dies doesn't recapture that magic mix of action, gadgetry, and romance, but does feature the first Bond girl to match 007 blow for blow: Hong Kong action superstar Michelle Yeoh. Taken together, this set is a veritable cross-section of the many faces of James Bond. All that's missing is George Lazenby. Do I hear a nomination for set 2? —Sean Axmaker

Now perhaps the most beloved American film, It's a Wonderful Life was largely forgotten for years, due to a copyright quirk. Only in the late 1970s did it find its audience through repeated TV showings. Frank Capra's masterwork deserves its status as a feelgood communal event, but it is also one of the most fascinating films in the American cinema, a multilayered work of Dickensian density. George Bailey (played superbly by James Stewart) grows up in the small town of Bedford Falls, dreaming dreams of adventure and travel, but circumstances conspire to keep him enslaved to his home turf. Frustrated by his life, and haunted by an impending scandal, George prepares to commit suicide on Christmas Eve. A heavenly messenger (Henry Travers) arrives to show him a vision: what the world would have been like if George had never been born. The sequence is a vivid depiction of the American Dream gone bad, and probably the wildest thing Capra ever shot (the director's optimistic vision may have darkened during his experiences making military films in World War Two). Capra's triumph is to acknowledge the difficulties and disappointments of life, while affirming—in the teary-eyed final reel—his cherished values of friendship and individual achievement. It's a Wonderful Life was not a big hit on its initial release, and it won no Oscars (Capra and Stewart were nominated); but it continues to weave a special magic. —Robert Horton

Jack Nicholson was born to play the devil, and in George Miller's adaptation of John Updike's novel he plays it for all he's worth. As a wolfish womanizer summoned by three bored women in a picturesque New England town, he's sating all of his appetites with a rakish grin. Cher, Susan Sarandon, and Michelle Pfeiffer play the women who discover their untapped magical powers by accident. The smart and sexy singles, out of place in the conservatism of their village, find happiness, however briefly, in the arms and bed of the libidinous devil, but he's got his own ulterior motives. Miller revels in the sensual display of sex, food, and magic, whipping up a storm of effects that finally get out of hand in an overblown ending. It's a handsome film with strong performances all around, but the mix of anarchic comedy and supernatural horror doesn't always gel and Miller seems to lose the plot in his zeal for cinematic excitement. The performances ultimately keep the film aloft: the hedonistic joy that Nicholson celebrates with every leering gaze and boorish vulgarity is almost enough to make bad form and chauvinism cool. —Sean Axmaker

With the proliferation of so many lackluster deleted scenes on DVDs, it's nice to see something on this DVD that's worth watching. The seven scenes gathered here all have good laughs and could have easily been included in the film. Highlights of the 35-minute documentary (produced in 2000) include the genesis of the film (director Reiner's return to dating after years of marriage) and the deconstruction of many of the movie's best moments. New and old interviews are included, with Reiner, writer Nora Ephron, and Billy Crystal taking center stage. Lifelong friends Crystal and Reiner should have done the commentary together—Reiner's monotone delivery doesn't work against the lively comedy. Besides, the juiciest facts have been covered in the documentary. Also, Barry Sonnefeld's cinematography is a real treat to view in the widescreen format. —Doug Thomas

With the proliferation of so many lackluster deleted scenes on DVDs, it's nice to see something on this DVD that's worth watching. The seven scenes gathered here all have good laughs and could have easily been included in the film. Highlights of the 35-minute documentary (produced in 2000) include the genesis of the film (director Reiner's return to dating after years of marriage) and the deconstruction of many of the movie's best moments. New and old interviews are included, with Reiner, writer Nora Ephron, and Billy Crystal taking center stage. Lifelong friends Crystal and Reiner should have done the commentary together—Reiner's monotone delivery doesn't work against the lively comedy. Besides, the juiciest facts have been covered in the documentary. Also, Barry Sonnefeld's cinematography is a real treat to view in the widescreen format. —Doug Thomas

The winner of 10 Academy Awards, this 1961 musical by choreographer Jerome Robbins and director Robert Wise (The Sound of Music) remains irresistible. Based on a smash Broadway play updating Shakespeare's Romeo and Juliet to the 1950s era of juvenile delinquency, West Side Story stars Natalie Wood and Richard Beymer as the star-crossed lovers from different neighbourhoods—and ethnicities. The film's real selling points, however, are the highly charged and inventive song-and-dance numbers, the passionate ballads, the moody sets, colourful support from Rita Moreno, and the sheer accomplishment of Hollywood talent and technology producing a film so stirring. Leonard Bernstein and Stephen Sondheim wrote the score. —Tom Keogh

TV's Saturday Night Live has been like the evil twin of the legendary alchemist's stone, which supposedly could turn lead into gold. SNL usually does the opposite, taking rich comic premises from short skits and extrapolating them into overblown and unfunny full-length films. ("The Coneheads"? Puh-leeze!) But this film proved to be the exception, thanks to Mike Myers's wonderfully rude lowbrow humor and his full-bodied understanding of who his character is. Wayne Campbell (Myers) and his nerdy pal Garth (Dana Carvey) are teens who live at home and have their own low-rent cable-access show in Aurora, Illinios, in which they celebrate their favorite female movie stars and heavy-metal bands. When a Chicago TV station smells a potential youth-audience ratings hit, the station's weasely executive (Rob Lowe) tries to coopt the show—and steal Wayne's new rock & roll girlfriend (Tia Carrere) at the same time. It's filled with all kinds of knowing spoofs of movie conventions, from Wayne talking to the camera (and forbidding other characters to do so) to hilariously self-conscious product placements and labeling a moment a "Gratuitous Sex Scene." Dumb—and very funny. —Marshall Fine

Somewhere in the world, there are probably people who don't understand why Mike Myers's character, Wayne Campbell, is funny—which is too bad. Granted, the laughs are often cheap and silly, but there's no one who can embody a comic character and riff within that character the way Myers does. Wayne and his pal Garth (Dana Carvey) were fixtures on Saturday Night Live before the unexpected success of Wayne's World, which is about what happened when they tried to take their local cable-access show citywide. This time, they want to stage Waynestock, a mammoth rock festival in their little Chicago suburb, even as Wayne copes with girlfriend Tia Carrere's interest in record-company exec Christopher Walken. For extra fun, Garth gets involved with the babelicious Kim Basinger. Yes, the humor is scattershot and the plot is lame—but you'll find yourself laughing nonetheless. —Marshall Fine