Granada Television's powerful adaptation of John Galsworthy's novels about the sprawling, fractious and aristocratic Forsyte family moves into the 1920s with Series Two, based on the author's To Let. The drama shifts to a new generation shouldering the burdensome legacies of an aging Soames (Damian Lewis) and his failed marriage to free-spirited Irene (Gina McKee). The lovely Fleur (Emma Griffiths Malin), Soames's daughter by second wife Annette (Beatriz Batarda), and strapping Jon (Lee Williams), son of Irene and Soames's bohemian cousin, Jolyon (Rupert Graves), develop a romance much to the dismay of their feuding parents. But the long reach of the elder Forsytes' sins-and the tenderness with which they seek redemption through their children-ultimately undercuts the young lovers' happiness. Meanwhile, sundry characters move in and out of the Forsytes' orbit, including a French businessman (Michael Maloney) stirring more troubles for Soames and an art dealer (Oliver Milburn) with designs on Fleur. As with Series One, all this will feel familiar to anyone who has seen the 26-part, 1967 version of The Forsyte Saga (the program that arguably created public television as we know it). Yet this updated effort renews and redefines the Forsytes' overlapping tragedies, with a more interior feel and a first-rate contemporary cast. As with its legendary predecessor, this Forsyte Saga depends heavily on the seemingly soulless Soames's slow evolution to humanity; Damian Lewis carries the load brilliantly. -Tom Keogh.

Stuart, Vince and Nathan are back for one last wild, outrageous adventure on Canal Street. But amongst the fabulous nights out, the one-night stands, the clubbing, all is not well. Someone's trying to blackmail Stuart Jones. Stuart is no one's victim. Now he's out for revenge. Big time! As Stuart fights back, Vince is facing a dilemma. Stuart's revenge is taking him on the wrong side of the law, and could even get someone killed. Just when it seems that they might finally get together, Vince thinks Stuart's gone too far. Will Nathan ever get over Stuart? Will Vince ever get his man? Can Stuart ever be stopped? In this witty, exciting drama, only one thing is for sure: No straight person is ever going to call a gay boy "queer" again.

John Boorman's 1985 South American epic never quite gets all of its gears working simultaneously, but it remains an often startling work with an extraordinary performance by the director's own son, Charley Boorman. Powers Boothe plays an American engineer working on a dam project in Brazil. When his young son is seemingly absorbed one day into the dense perils and beauty of the Amazon rain forest, Boothe's character goes on a protracted, 10-year search for him. In the interim, Boorman puts his full storytelling powers to work by characteristically exploring the arcane rhythms and dangers of an indigenous world hidden from ordinary view. Specifically, Boorman leads us into the life of a forest tribe who have assimilated the missing child and who will ultimately send him back with the opposite of his father's pro-development sensibility. The movie is gorgeous to behold, and it's great fun watching Boorman find ever-novel ways of making the same film again and again. But the environmental message and the emotion of the core relationship get in each other's way a bit, preventing the film from uniting on every front. Still, this is a must for Boorman fans. -Tom Keogh.

A beautiful model, Dinah lands an ad campaign for meat. Soon afterward, while shooting a TV commercial, she falls for a studly stunt man - Steve. When they run off together, the advertising executives see the loss as an opportunity. They use the couple's leave as a publicity stunt.

David Lean's finest films, from Great Expectations (1946) to Lawrence of Arabia (1962), are resolutely sober, which is more than can be said of Henry Horatio Hobson in his wonderfully comic encounter with the moon in Hobson's Choice (1954). Lean's only other comedy was Blithe Spirit (1945), but here he approaches matters of the heart with a surprising lightness of touch and wins a marvelous performance from Charles Laughton-himself soon to make his one and only film as a director, Night of the Hunter (1955). The setting is late-19th-century Salford, England (the black-and-white location filming is exceptional), and widower Henry Hobson forbids his three daughters to marry to avoid paying their dowries. Romance will not be thwarted by economics, and much humorous conflict ensues, interspersed with some serious and even disturbing moments. Brenda De Banzie is splendidly spirited as the eldest daughter, Maggie, while her fiancé is played by the ever excellent John Mills, who would later win an Oscar® for his part in Lean's much more serious love story, Ryan's Daughter (1970). -Gary S. Dalkin David Lean backs up vicious wit with tender romance in this thrilling adaptation of Harold Brighouse's play. As Henry Hobson, a tyrannical bootshop owner, Charles Laughton (Mutiny on the Bounty, Ruggles of Red Gap) is a comical drunk of Falstaffian proportions. When Hobson forbids his daughters to marry (their unpaid labor supports his pub visits!), his eldest daughter defiantly sets her cap for Willie, the shop's best bootmaker. Brenda de Banzie (The Man Who Knew Too Much), as the eldest daughter, hounds the flabbergasted Willie into marriage, resulting in a thriving new shop of their own. [+]

Richard Attenborough's passion weighs so heavily on every frame of Grey Owl, the true story of a pioneering conservationist in the Canadian wilderness, that it tends to smother the characters. Pierce Brosnan is stiff, deliberate and terse as Archie Grey Owl, a part Scotch Native American adopted and raised by a Canadian Ojibwa tribe. He gets by as a trapper, hunting guide, and sometime writer, but becomes an internationally revered activist in the 1930s when he publishes a book on the vanishing wilderness. Annie Galipeau is the native Canadian woman who sees through his tough hide and secretive quiet: "Yeah, I know. You're a loner. You have to live in the wilderness. I hear it everyday. " But she doesn't pierce his most zealously guarded secret, a distracting subplot that most of the audience figures out in no time. Attenborough's hushed reverence for Archie's dream slows an already lugubrious drama, and Brosnan all too often comes off as a walking cliché, his flat speech and long, slow stares a Brit's idea of a movie Indian. The real star of the film is the magnificent Canadian wilderness: carpets of forests, clear crystal lakes, and vast blue skies. [+]

Helene Hanff (Anne Bancroft) and Frank Doel (Anthony Hopkins) are lifelong friends who never meet in this unique comedy-drama based on a true story. Hanff and Doel are separated by 3,000 miles of ocean and joined by a passion for old books. Their relationship begins when New Yorker Hanff orders a copy ("unabridged, please!") of Pepys's diary. Doel, as polite and soft-spoken as Hanff is loud and overbearing, fields the request from his book shop in London. For the next two decades they correspond without ever actually sitting down for tea and crumpets. Brit director David Jones (Betrayal) does a reasonably good job of goosing a movie about something as uncinematic as letter writing, and the stars have fun chewing scenery on both sides of the Atlantic. The model for this kind of bittersweet relationship is David Lean's Brief Encounter, which, not coincidentally, is glimpsed here when Hanff steps out for a rainy-day matinee. -Glenn Lovell.

The 1951 John Huston classic, set in Africa during World War I, garnered Humphrey Bogart an Oscar for his role as a hard-drinking riverboat captain in Africa, who provides passage for a Christian missionary spinster (Katharine Hepburn). Taking an instant, mutual dislike to one another, the two endure rough waters, the presence of German soldiers, and their own bickering to finally fall into one another's arms. This is classic Huston material-part adventure, part quest-but this time with a pair of characters who'd all but given up on happiness. Bogart (a longtime collaborator with Huston on such classics as The Maltese Falcon and Key Largo) and Hepburn have never been better, and support from frequent Huston crony Robert Morley (Beat the Devil, also featuring Bogart) adds some extra dimension and color. -Tom Keogh.

Hotel du Lac is an impeccably produced BBC television adaptation of Anita Brookner's Booker Prize-winning novel. Middle-aged writer Edith Hope has fled London and romantic disappointment to find sanctuary at a luxury hotel on a Swiss Lake, but finding no escape from her loneliness must eventually face her past. Edith is played with compassion by Anna Massey, her intellect and wit acting as a defense against her own failings, and support comes from a superb cast including Denholm Elliott, Googie Withers, Julia McKenzie, Patricia Hodge, Irene Handl, and Barry Foster. Brookner's apparently slight but multilayered tale is skillfully crafted by writer Christopher Hampton, who has with such films as Dangerous Liaisons (1988) and The Quiet American (2002) become a master of literary adaptation. Giles Foster's direction focuses on bringing the best from his cast, rather than attempting any sort of cinematic sweep, and Carl Davis's eloquent theme music makes the introspection all the more touching. Ultimately, though, it is Anna Massey's insightful central performance which makes Hotel du Lac such a memorable slice of television. -Gary S. Dalkin.

Alec Guinness delivers a masterful, not-to-be-missed performance in a brilliant screenplay by J. B. Priestley that combines irony, humor, and tenderness. Shy George Bird (Guinness) learns his days are numbered, so he decides to take a "last holiday. " He withdraws his life savings and dashes off to a fashionable seaside resort, where he is taken for a man of substance and becomes a favorite with his newfound aristocratic friends.

Anglophiles and Britcom aficionados will welcome the video of this delightful 1974 series based on the books by Charlotte Bingham. Happily, the sparkling dialogue and engaging characters wear much better than the actors' horribly dated '70s wardrobes. John Alderton and his real-life wife, Pauline Collins, star as C. D. and Clara, the George Burns and Gracie Allen of Hampstead, right down to the "Say goodnight, Clara" that closes each episode. This boxed set contains the first seven episodes of the series. Episode 1 sets the stage as C. D. and Clara, who have been married, Clara notes, "nearly 10 years next Thursday a week on Monday," recall how they met at "Freddie's awful party. " Framed by the couple's light banter, each of these episodes flashback chronologically to their often comically confused courtship and marriage. [+]