Citizen Kane is considered by many to be Orson Welles's masterpiece, but more than a few prominent critics have argued that his second film, 1942's The Magnificent Ambersons, is an even greater artistic achievement. It's certainly the source of the most painful injustice of Welles's brief career in Hollywood, having been seized from the director's control, drastically cut from over two hours to merely 88 minutes, and reshot with a different, upbeat ending that Welles vehemently disapproved of. Adapted by Welles from the novel by Booth Tarkington, it remains a truncated masterpiece, as impressive for what remains as for the even greater film it might have been. The story is set during the late 19th century and follows the rise and fall of the wealthy Amberson family of Indianapolis, Indiana. Central to the drama is George Amberson Minafer (Tim Holt), who is snobbishly to the manor born, and whose petty jealousies and truculent pride compel him to prevent a wealthy inventor (Joseph Cotten) from marrying his widowed mother (Dolores Costello). This in part is the cause of the Ambersons' downfall, and ultimately leads to George's humbling "comeuppance" at the film's dramatic conclusion. It's an absorbing tale of fading traditions and changing times, and it's also a magnificent showcase for Welles's cinematic audacity, famous among film students for its long, fluid shots and ambitious compositions. Responding to the film's drastic cutting and re-editing, Welles justifiably complained that "they destroyed the heart of the film, really. " And yet, the director's stamp of genius is evident throughout-the work of a young master (Welles was only 26 when the film was made) that still shines despite its unfortunate fate. -Jeff Shannon.

Fans of Jet Li should check out The Master, an early movie by the Hong Kong action star. Li is the anti-Stallone, all sinew and smile. His boyish grace makes him seem almost weightless as he whips through his fight scenes in peak physical form. Though the story isn't as strong as the Once upon a Time in China series or Fist of Legend-the plot, about a student of kung fu (Li) from China who comes to Los Angeles to help his former master, is serviceable but generic-the action scenes are dynamic and give ample room for Li's sprightly charisma. Everything about The Master is a little cliché, but at the same time it's all much more enjoyable than you'd expect. The editing is brisk, the actors are enjoying themselves, and the direction (by dependable Hong Kong auteur Tsui Hark) keeps things hopping. -Bret Fetzer.

It may not be a great movie, but Bliss could be one of the greatest marriage-boosters ever filmed. This curious drama fits into the too-familiar form of the "therapy movie," but it's acted with intensity by a committed (and rather brave) trio. Craig Sheffer plays an uptight Seattle husband who discovers his neurotic wife (Sheryl Lee) visiting a radical doctor (Terence Stamp) who has sex-therapeutically-with his patients. After briefly flipping out, Sheffer finds himself buying into the doctor's remedies for a sexual and emotional make-over. The silky-smooth Stamp is perfectly cast: with his enthusiasm for chakras and fine cigars, the doctor is both spiritual guru and the kind of man who reads Playboy. The film veers into ridiculousness at times, yet there is something intriguing about its how-to frankness. Home viewers may find themselves embarrassed and maybe just a little bit liberated. -Robert Horton.

Russian history occurs on a sweeping scale, but that takes a bigger budget than A&E can muster. So instead the cable network keeps its treatment of Russian empress Catherine II indoors as much as possible. That allows the camera to linger over the impossibly lovely face of Catherine Zeta-Jones, and the plot to focus on the political machinations of 18th-century Russia. Catherine goes from a bookish teen bride (her husband is the crazy and possibly impotent nephew of Russia's Empress Elizabeth) to the legendary empress who successfully concluded the Seven Years' War with Prussia, conquered Turkey, and put down a rebellion led by a Cossack pretending to be her long-dead husband. The movie stumbles a bit when it ventures outdoors-it's hard to imagine Russia really conquered the Ottoman Turks with a 12-man army-but sizzles inside. Zeta-Jones conveys both passion and hard-edged ambition as her character transforms herself from manipulated to manipulator. Many of those manipulations occur in the bedroom, and the movie takes some liberties in portraying her union with military leader Grigory Potemkin (Paul McGann); here he's practically a saint, although history remembers him a bit less nobly. The supporting cast includes Jeanne Moreau in a masterful portrayal of Empress Elizabeth, along with Ian Richardson, Mel Ferrer, and Omar Sharif. Although there's plenty of scenery for them to chew, they hold back, allowing Zeta-Jones her 100 minutes of greatness. -Kimberly Heinrichs.