A highly unusual war movie with as many detractors as fans, this English-language feature directed by Nagisa Oshima (In the Realm of the Senses) stars David Bowie as a silent, ethereal POW in a Japanese camp. Protesting-via his own enigmatic rebellion-the camp's brutal conditions and treatment of prisoners, Bowie's character earns the respect of the camp commandant (Ryuichi Sakamoto). While the two seem locked in an unspoken, spiritual understanding, another prisoner (Tom Conti) engages in a more conventional resistance against a monstrous sergeant (Takeshi). The film has a way of evoking as many questions as certainties, and it is not always easy to understand the internal logic of the characters' actions. But that's generally true of Oshima's movies, in which the power of certain relationships is almost hallucinatory in self-referential intensity. The cast is outstanding, and Bowie is particularly fascinating in his alien way. -Tom Keogh.

Amateur movies shot with small handheld cameras by six German infantrymen on the Eastern Front during World War II form the core of this documentary. The men who took the movies appear on camera as old men to provide narration (in German, with subtitles), and they provide a perspective not often heard. As might be expected, they distance themselves from atrocities, and as they were foot soldiers in the Wehrmacht, their denials of involvement are probably true. One of the men still owns the camera he carried in the war, and he demonstrates how its small size made it perfect for impromptu filming in the field. Clips of smiling troops on the move is accompanied by an old man talking about how happy they were to be going to an unknown destination, likening it to "the joy one feels when on a journey. " It turns out the gleeful trip he recalls was actually the beginning of the invasion of Poland and thus the beginning of the war in Europe. Later footage shows combat conditions in Russia, and the grisly aftermath of vicious combat. The rarity of the film footage, some of which was shot in color, makes this documentary worth watching. But the recollections of the amateur cameramen also provide an unusual insight into the German war machine, such as when one of the old veterans mentions how he eventually realized, "This was no defensive war forced upon us, it was an idiotic war of aggression. " -Robert J. [+]

An all-but-incoherent sequel to (and completion of) trendsetting martial arts director Chang Cheh's Water Margin adaptation of Seven Blows of the Dragon. The plot was so familiar to Eastern audiences that it's barely sketched in. Most of the picture is just fighting, Robin Hood-style daring-do staged and shot in the standard slapdash style of 1970s kung fu. China's emperor enlists the Liang Shan Po outlaws in a struggle against the traitorous lord Fang Lau. Seven heroes, complete with cool nicknames (David Chaing is Yen Ching, "The Graceful One") are assigned to infiltrate Lau's impregnable, water-guarded fortress, and several of these paragons get to die staunchly in rivers of blood. Ti Lung, who costarred in John Woo's The Killer almost 15 years later, fights minus an arm, before gallantly expiring. (The broadcast TV version, while nominally uncut, switches to black-and-white during the exsanguinate scenes. ) -David Chute.

Fill a bowl with alpine strawberries, break out the Château Lafite (1899, of course), and bask in this benchmark 1981 British miniseries based on Evelyn Waugh's classic novel. Adapted for the screen by John Mortimer (Rumpole of the Bailey), this impeccable, nearly 11-hour production mesmerized American viewers during the course of its PBS run in 1982. In his breakthrough role, Jeremy Irons stars as Charles Ryder, a disillusioned Army captain who is moved to reflect on his "languid days" in the "enchanted castle" that was Brideshead, home of the aristocratic Marchmain family, whose acquaintance Charles made in the company of an Oxford classmate, the charming wild child Sebastian. Anthony Andrews costars as the doomed Sebastian, whose beauty is "arresting" and "whose eccentricities and behavior seemed to know no bounds. " The "entitled and enchanted" Sebastian takes Charles under his wing ("Charles, what a lot you have to learn"), but vows early on that he is "not going to let [Charles] get mixed up with [his] family. " But mixed up Charles gets. He becomes a friend and confidante, not to mention a lover, to Sebastian's sister Julia (Diana Quick). Meanwhile, the self-destructive Sebastian's life spirals out of control. Brideshead Revisited boasts a distinguished ensemble, including Laurence Olivier in his Emmy Award-winning role as the exiled Lord Marchmain, Claire Bloom as Lady Marchmain, and the magnificent John Gielgud as Charles's estranged father. Grand locations and a haunting musical score make this a memorable revisit of an irretrievable bygone era. [+]

It's long been one of the revered classics of international cinema, but there is no fine layer of dust over La Grande Illusion. Jean Renoir's film is just as vibrant, exciting, and wise as it has ever been. The story is set during World War I, mostly in a couple of German POW camps, where two very different French prisoners plot to escape: the working-class officer Maréchal (Jean Gabin, the French Spencer Tracy) and the upper-class de Boieldieu (Pierre Fresnay). The suspenseful backbone of the story is formed by these escape attempts, but Renoir is primarily concerned with the way people treat each other, and especially with how class and nationality inform human relations. Most compelling of all the film's characters is the aristocratic German officer von Rauffenstein, unforgettably incarnated by stiff-backed Erich von Stroheim; although he runs a prison camp, von Rauffenstein cannot help but strike up a friendship with de Boieldieu, a kindred spirit from the doomed nobility. There is nothing dewy or naive about Renoir's vision (and two years after the release of this antiwar film, Europe was plunged into another world war), yet Grand Illusion is one of those movies that makes you feel good about such long-outmoded ideas as sacrifice and brotherhood. After it won a prize at the Venice Film Festival in 1937, the Nazis declared the film "Cinematographic Enemy Number One. " There can be no higher praise. -Robert Horton.