A hit in Europe but a flop in the U.S.—where it was trimmed, rescored, and given a new ending—Luc Besson's The Big Blue has endured as a minor cult classic for its gorgeous photography (both on land and underwater) and dreamy ambiance. Jean-Marc Barr is a sweet and sensitive but passive presence as Jacques, a diver with a unique connection to the sea. He has the astounding ability to slow his heartbeat and his circulation on deep dives, "a phenomenon that's only been observed in whales and dolphins… until now," remarks one scientist. Kooky New York insurance adjuster Joanna (Rosanna Arquette at her most delightfully flustered and endearingly sexy best) melts after falling into his innocent baby blues, and she follows him to Italy, where he's continuing a lifelong competition with boyhood rival Enzo (Jean Reno in a performance both comic and touching).

Besson's first English-language production looks more European than Hollywood, and it suffers from a tin ear for the language. At times it feels more like an IMAX undersea documentary than a drama about free divers, but the lush and lovely images create a fairy tale dimension to Jacques's story, a veritable Little Merman. More dolphin than man, he's so torn between earthly love and aquatic paradise that even his dreams call him to the sea (in a sequence more eloquent than any speech).

Besson has expanded the film by 50 minutes for his director's cut, which adds little story but slows the contemplative pace until it practically floats in time, and has restored Eric Serra's synthesizer-heavy score, a slice of 1980s pop that at times borders on disco kitsch. Most importantly, he has restored his original ending, which echoes the fairy tale he tells Joanna earlier in the film and leaves the story floating in the inky blackness of ambiguity. —Sean Axmaker

French director Luc Besson (The Fifth Element) broke the commercial taboo against female-driven action movies with this seminal, seductively slick film about a violent street punk (Anne Parillaud) trained to become a smooth, stylish assassin. Though it amounts, in the end, to little more than disposable pop, the film has a cohesiveness in style and tone—akin to the early James Bond films—that gives it a sense of integrity. Parillaud is compelling both as a wild child and chic-but-lethal pro (trained in good manners by none other than Jeanne Moreau). Tchéky Karyo is also good as the cop mentor who develops feelings for her. —Tom Keogh

Even if the notorious 1970s porn-filmmaking milieu doesn't exactly turn you on, don't let it turn you off to this movie's extraordinary virtues, either. Boogie Nights is one of the key movies of the 1990s, and among the most ambitious and exuberantly alive American movies in years. It's also the breakthrough for an amazing new director, whose dazzling kaleidoscopic style here recalls the Robert Altman of Nashville and the Martin Scorsese of GoodFellas. Although loosely based on the sleazy life and times of real-life porn legend John Holmes, at heart it's a classic Hollywood rise-and-fall fable: a naive, good-looking young busboy is discovered in a San Fernando Valley disco by a famous motion picture producer, becomes a hotshot movie star, lives the high life, and then loses everything when he gets too big for his britches, succumbs to insobriety, and is left behind by new times and new technology. Of course, it ain't exactly A Star Is Born or Singin' in the Rain. Writer-director Paul Thomas Anderson (in only his second feature!) puts his own affectionately sardonic twist on the old showbiz biopic formula: the ambitious upstart changes his name and achieves stardom in porno films as "Dirk Diggler." Instead of drinking to excess, he snorts cocaine (the classic drug of '70s hedonism); and it's the coming of home video (rather than talkies) that helps to dash his big-screen dreams. As for the britches ... well, the controversial "money shot" explains everything. And the cast is one of the great ensembles of the '90s, including Oscar nominees Burt Reynolds and Julianne Moore, Mark Wahlberg (who really can act—from the waist up, too!), Heather Graham (as Rollergirl), William H. Macy, John C. Reilly, and Ricky Jay. DVD extras include nine deleted scenes and a commentary track from Anderson. —Jim Emerson

This epic Lucasfilm fantasy serves up enough magical adventure to satisfy fans of the genre, though it treads familiar territory. With abundant parallels to Star Wars, the story (by George Lucas) follows the exploits of the little farmer Willow (Warwick Davis), an aspiring sorcerer appointed to deliver an infant princess from the evil queen (Jean Marsh) to whom the child is a crucial threat. Val Kilmer plays the warrior who joins Willow's campaign with the evil queen's daughter (Joanne Whalley, who later married Kilmer). Impressive production values, stunning locations (in England, Wales, and New Zealand) and dazzling special effects energize the routine fantasy plot, which alternates between rousing action and cute sentiment while failing to engage the viewer's emotions. A parental warning is appropriate: director Ron Howard has a light touch aimed at younger viewers, but doesn't shy away from grisly swordplay and at least one monster (a wicked two-headed dragon) that could induce nightmares. —Jeff Shannon

This time around, the Brat Packers (Emilio Estevez, Christian Slater, Lou Diamond Phillips, Kiefer Sutherland) are on the run from the law and making a break for the border. Sutherland is yanked from his school-teaching job back East and extradited for trial, until he's liberated by the other members of the gang. There's a memorable scrap between Phillips and Slater, and a couple of pretty decent firefights, but all in all this is rather forgettable fare. It taps into the futility and camaraderie of classics like The Wild Bunch and Butch Cassidy and the Sundance Kid, but Sam Peckinpah or George Roy Hill it ain't. Jon Bon Jovi adds to the Rock-Stars-in-the-Old-West feel of this one, rife as it is with non-period dialogue and long, blowy hair. Still, fans of the original movie may find plenty to like in this sequel, even if it comes across as being a bit tired and turgid (notice there never was a Young Guns III). —Jerry Renshaw

What happened to The 13th Warrior? Directed by John McTiernan (Die Hard), it's the tale of young Arab ambassador Ahmahd ibn Fahdalan (Antonio Banderas), who's vanquished from his homeland for loving the wrong woman. On his journeys he associates with a ragtag group of Vikings who are traveling back to their homeland to confront a nefarious threat that's cloaked in such superstition they're forbidden to speak its name. It is prophesied by a witch doctor that 13 warriors must confront the evil; however, the 13th chosen man must not come from the north. Suddenly Banderas is forced into the breach, somewhat against his will. More poet than battle-worn warrior, he must not only fight the aggressors but come to terms with the unfamiliar Norse culture. What follows is a vigorous and brutal adventure reminiscent of Kurosawa's Seven Samurai. Sumptuous and invigorating battle sequences fill the screen from beginning to end as the brave Norsemen battle insurmountable odds.

Sounds good. So why did this film, once known as the Eaters of the Dead, sit on studio shelves for two years? Presumably because of the thoughtless editing that trimmed down the film to its bare bones, crafting an actionfest out of an epic. It's not often that you crave for a movie to be longer, but The 13th Warrior could've benefited from fleshing out of its subplots and characters. On the surface it's good eye candy with some fine pulse-quickening moments, and Banderas and the accompanying cast turn in sympathetic performances, epitomizing camaraderie in the face of impending doom. However, if you're looking for a good thematic tale from the Dark Ages (akin to Braveheart), you may be disappointed. —Jeremy Storey

This epic 10-hour miniseries from the Emmy-winning writer of Gulliver's Travels was a ratings bust on television, but on video and DVD, where it can be enjoyed at one's leisure, it has a better chance to cast its magical spell. Kimberly Williams has never been more enchanting than as Virginia, a waitress who still lives with her janitor father (John Larroquette) and yearns for something exciting to happen to her. Her wish comes true when she and her father are transported from New York City into a dimension that, with apologies to Rod Serling, can only be called the Fairy Tale Zone; nine kingdoms populated by characters from fairy tales of yore. They team up with a dog who's really a prince—Wendell, grandson of Snow White—changed into canine form by the evil Queen (Dianne Wiest), who plots to usurp Wendell's throne. Father, daughter, and his royal dogness are relentlessly pursued through the nine kingdoms by the Troll King (Ed O'Neill) and his three bumbling and horrible children, and the conflicted Wolf (Scott Cohen), who is allied with the Queen but, with the aid of some Oprah-esque self-help books, tames his inner beast and falls in love with Virginia. The 10th Kingdom is a special effects extravaganza. There is indeed, as one character marvels, magic to behold here. But despite the Hallmark brand name and the presence of a grown-up Snow White (Camryn Manheim) and Cinderella (Ann-Margret), bewitched animals, magic mirrors, and trolls, this is not kid's stuff. It can get scary, surprisingly violent, and quite intense; you know, just like real fairy tales. —Donald Liebenson

One of Jim Henson's finest hours was the Storyteller series that aired on HBO in 1987. As with his other non-Muppet creations (Labyrinth), Henson fills the screen with wonderful creatures that have a wisp of a J.R.R. Tolkien fantasy. Half of the series was adapted from Greek myths by Anthony Minghella, who became an Oscar-winning filmmaker a decade later with The English Patient. Minghella weaves the narration of the storyteller (played with aplomb by John Hurt) with dialogue from the stories to beguiling effect; the storyteller doesn't simply introduce the tales.

By nature, the Greek myth episodes are a bit more mature and downbeat (ages 8 and older), yet give the audience lasting impressions of oft-quoted tales. In "Perseus and the Gorgon," King Argos locks away his wife when it is foretold his future son will kill him. Soon mother and son (Perseus, fathered by none other than Zeus) are washed ashore and another angry king looks to take away Perseus's mother. How can Perseus win the day? By killing the evil Gorgon whose snake-covered head includes eyes that turn humans into statues. Derek Jacobi stars as the brilliant Greek designer in "Daedalus and Icarus." The father goes through many hardships, including the famous episode of his son flying too close to the sun. John Madden (Shakespeare in Love) directs the tale of "Theseus and the Minotaur." A young man reunites with his father, King Aegeus, but is cursed by his witch of a stepmother (literally). When Theseus tries to stop the regular sacrifice to the half-bull, half-man Minotaur, a new curse awaits the young prince. The magical musician Orpheus (Art Malik) finds his muse in "Orpheus and Eurydice." Unfortunately, she soon dies and goes to Hades where Orpheus follows, attempting to win her soul from the devil himself.

"Sapsorrow" is a curious variation on the Cinderella legend. "The Luck Child" is a brilliant short about a king bent on destroying a commoner boy, known as the luck child ("the seventh son born of a seventh son on a week with two Fridays"), after a wizard declares the boy will grow up to be king. The fate of the king is one of those hooks that should have the kids smiling for days. Henson himself directs "Death and the Soldier," a brilliant example of how these episodes were so wonderfully complex. A penniless solider (Bob Peck) is given a magical sack and he uses it to full effect, capturing gremlins and greater evils on his way to be king. "A Story Short" is the storyteller's own adventure. He makes a deal with a king to tell a story every day of the year. Yet on the last day, the storyteller's mind is a blank and his fate may lead him to a boiling vat of oil. Henson's work is true family entertainment and at only 22 minutes per episode, it's the perfect companion for some fine entertainment around the TV. —Doug Thomas

For the first time ever and for a limited time only, the enhanced versions of the Star Wars: Episode IV A New Hope, Star Wars: Episode V The Empire Strikes Back and Star Wars: Episode VI Return of the Jedi will be available individually on DVD. Plus, these 2-Disc DVD's will feature a bonus disc that includes, for the first time ever on DVD, the original films as seen in theaters in 1977, 1980 and 1983.

Luke Skywalker tries to bring his father Darth Vader back to the light side of the force, while the Rebel army saves his friend Han Solo from Jabba the Hut.
Genre: Science Fiction
Rating: PG
Release Date: 20-FEB-2007
Media Type: DVD

For the first time ever and for a limited time only, the enhanced versions of the Star Wars: Episode IV A New Hope, Star Wars: Episode V The Empire Strikes Back and Star Wars: Episode VI Return of the Jedi will be available individually on DVD. Plus, these 2-Disc DVD's will feature a bonus disc that includes, for the first time ever on DVD, the original films as seen in theaters in 1977, 1980 and 1983.