Let's get straight to the point: bar none, Battlestar Galactica is the best science fiction television programme currently showing. In fact, let's go further. It's the best of the last decade. And truthfully? You'd find very few sci-fi fans who'd disagree.

What's more, plenty of people must be busy eating their words, too. Back when it was announced that Battlestar Galactica was being revived, feelings were mixed, not helped by the divided reaction to the mini-series that kickstarted this iteration of the show. Yet over the past couple of years, it's cleverly proven to be a tense, gripping mix of action and drama, with a tightly-woven plot.

This third season? It's arguably the best so far. A delicious soup of mystery, relevations, actions, striking characters and winding narrative, Battlestar Galactica is also served superbly well by a quality cast, some quality special effects, and a real focus on what matters from behind the camera.

As usual, there are no spoilers in this review, although it's not giving much away to say that the deadly cylons have to share the screen time with some intriguing and revealing character development this time round. And with word that season four of the revived Battlestar Galactica will be the last, things are set up for a terrific final act.

Season three of the show though is extraordinarily good, a real, genuine sci-fi classic that's going to have one mighty shelf life once this particularly iteration of the programme has gone. And with umpteen surprises to go back and check out, it's never likely to be one to gather dust on the shelf, either. —Jon Foster

A Beautiful Mind is an award-winning movie if ever there was one. This biopic of mathematician John Forbes Nash is two parts Shine to one part Good Will Hunting. Scripted by Akiva Goldsman (Lost in Space) and directed by Ron Howard (The Grinch)—both trying to get sincere and serious after previous movies—it showcases a big, compelling performance from Russell Crowe as a genius whose eccentricities turn out to be down to a genuine mental illness. Though his early work as a student offered a breakthrough that eventually won him the 1994 Nobel Prize, Nash goes off the deep end in later life.

The film works better in the early paranoid stretches—which include a wonderful 1950s spy movie parody as Nash is sucked into an imagined world of fighting commie atom spies—than it does with the inspirational ending, where Nash’s handicaps are overcome so he can triumph at the end. Crowe's genuinely fine work still seems a bit Shine/Rain Man/Forrest Gump-ish in mannerism, yet experience shows this can be a powerful career move. Crowe gains sterling support from Jennifer Connelly, Ed Harris, Paul Bettany and Christopher Plummer—some playing a mere character in Nash’s world. —Kim Newman

While too many films suffer the fate of creative bankruptcy, Being John Malkovichis a refreshing study in contrast, so bracingly original that you'll want to send director Spike Jonze and screenwriter Charlie Kaufman a thank-you note for restoring your faith in the enchantment of film. Even if it ultimately serves little purpose beyond the thrill of comedic invention, this demented romance is gloriously entertaining, spilling over with ideas that tickle the brain and even touch the heart. That's to be expected in a movie that dares to ponder the existential dilemma of a forlorn puppeteer (John Cusack) who discovers a metaphysical portal into the brain of actor John Malkovich.

The puppeteer takes a job working as a file clerk on the seventh-and-a-half floor of a Manhattan office building; this idea alone might serve as the comedic basis for an entire film, but Jonze and Kaufman are just getting started. Add a devious co-worker (Catherine Keener), Cusack's dowdy wife (a barely recognisable Cameron Diaz), and a business scheme to capitalise on the thrill of being John Malkovich, and you've got a movie that just gets crazier as it plays by its own outrageous rules. Malkovich himself is the film's pièce de résistance, playing on his own persona with obvious delight and—when he enters his own brain via the portal—appearing with multiple versions of himself in a tour-de-force use of digital trickery. Does it add up to much? Not really. But for 112 liberating minutes, Being John Malkovichis a wild place to visit. —Jeff Shannon

In 1943, the crew of the U.S.S. Tiger Shark, an American submarine in the Atlantic, rescues three survivors of a British hospital ship that came under German attack. One of the survivors, a nurse (Olivia Williams), raises tensions among the all-male crew from the moment she steps aboard. Commanding Officer Lieutenant Brice (Bruce Greenwood) does his best to keep the unruly crew in line, but after suffering damage from a barrage of Nazi depth charges (in a spectacular sequence) a series of increasingly spooky occurrences begin to rattle everybody aboard. A mysterious face that appears in the windows, a ghostly gramophone that plays a Benny Goodman record, and a corpse that seems to talk are just the beginning. Soon it is discovered that Captain Brice has not been entirely truthful regarding an accident that previously happened on the boat.
David Twohy's (PITCH BLACK) unique submarine thriller skillfully combines the conventions of the War and Haunted House genres, using a keen eye for detail to create a very believable and claustrophobic world. Based on a script by Darren Aronofsky and Lucas Sussman (rewritten by Twohy), BELOW doesn't rely on cheap scares. Its supernatural element is secondary to a forceful tale of danger at sea.

Nicole Kidman teams up with director Jonathan Glazer (SEXY BEAST) to deliver some sensitive subject matter in BIRTH. Kidman stars as Anna, a wealthy widower preparing to remarry 10 years after the sad, premature death of her husband. She inhabits a vast apartment in New York City, which is owned by her protective mother, Eleanor (Lauren Bacall), who quickly gathers Anna under her protective wing whenever trouble comes calling. Anna's fiance Joseph (Danny Huston) also resides in the austere apartment, where a party is thrown to celebrate the impending wedlock of the happy couple. An unwelcome visitor in the shape of 10-year-old Sean (Cameron Bright) crashes the festivities, cornering Anna and claiming to be her departed husband. After a derisory reaction from Anna, events take a strange twist when Sean continues to hound the widower, revealing facts that only her late husband could possibly know. Emotions pour out of Anna, with Kidman delivering an exemplary performance as she manages to simultaneously convey grief, confusion, and the overwhelming feeling of loss that Anna had all but buried. Becoming ever more convinced of Sean's authenticity, Anna risks losing everything as Joseph and Eleanor attempt to debunk the veracity of the 10-year-old's claims, but fight a losing battle as Anna's old feelings reawaken and blossom into a palpable flourish of love and desire. Director Glazer packs a haunting visual punch throughout BIRTH, drawing on the stunning work of cinematographer Harris Savides to present a bleak, almost monochromatic vision of New York. The script from longtime Bunuel collaborator Jean-Claude Carriere and co-writer Milo Addica handles what could have been a controversial topic with taste and dignity, but the movie really belongs to Kidman, who once again proves her acting chops with a stimulating performance.

Aptly described by critic Roger Ebert as "a vomitorium of viscera", Blade IItakes the express route to sequel success. So if you enjoyed Blade, you'll probably drool over this monster mash, which is anything but boring. Set (and filmed) in Prague, the plot finds a new crop of "Reaper" vampires threatening to implement a viral breeding program, and they're nearly impervious to attacks by Blade (Wesley Snipes), his now-revived mentor Whistler (Kris Kristofferson), and a small army of "normal" vampires who routinely combust in a constant conflagration of spectacular special effects. It's up to Blade to conquer the über-vamps, and both Snipes and director Guillermo del Toro (Mimic) serve up a nonstop smorgasbord of intensely choreographed action, creepy makeup, and graphic ultra-violence, with the ever-imposing Ron Perlman as a vampire villain. It's sadistic, juvenile, numbing, and—for those who dig this kind of thing—undeniably impressive. —Jeff Shannon

When Ridley Scott's cut of Blade Runnerwas finally released in 1993, one had to wonder why the studio hadn't done it right the first time—11 years earlier. This version is so much better, mostly because of what's been eliminated (the ludicrous and redundant voice-over narration and the phoney happy ending) rather than what's been added (a bit more character development and a brief unicorn dream). Star Harrison Ford originally recorded the narration under duress at the insistence of Warner Bros. executives who thought the story needed further "explanation"; he later confessed that he thought if he did it badly they wouldn't use it. (Moral: never overestimate the taste of movie executives.)

The movie's spectacular futuristic vision of Los Angeles—a perpetually dark and rainy metropolis that's the nightmare antithesis of "Sunny Southern California"—is still its most seductive feature, another worldly atmosphere in which you can immerse yourself. The movie's shadowy visual style, along with its classic private-detective/murder-mystery plot line (with Ford on the trail of a murderous android, or "replicant"), makes Blade Runnerone of the few science fiction pictures to legitimately claim a place in the film noirtradition. And, as in the best noir, the sleuth discovers a whole lot more (about himself and the people he encounters) than he anticipates. The cast also includes Sean Young, Edward James Olmos, Daryl Hannah Rutger Hauer and M Emmet Walsh. —Jim Emerson

To call this cut of Blade Runner `long awaited' would be a heavy, heavy understatement. It's taken 25 years since the first release of one of the science-fiction genre's flagship films to get this far, and understandably, Blade Runner: The Final Cut has proved to be one of the most eagerly awaited DVD releases of all time.

And it's been well worth the wait. Director Ridley Scott's decision to head back to the edit suite and cut together one last version of his flat-out classic film has been heavily rewarded, with a genuinely definitive version of an iconic, visually stunning and downright intelligent piece of cinema. Make no mistake: this is by distance the best version of Blade Runner. And it's never looked better, either.

The core of Blade Runner, of course, remains the same, with Harrison Ford's Deckard (the Blade Runner of the title) on the trail of four `replicants', cloned humans that are now illegal. And he does so across an amazing cityscape that's proven to be well ahead of its time, with astounding visuals that defied the supposed limits of special effects back in 1982.

Backed up with a staggering extra features package that varies depending on which version of this Blade Runner release you opt for (two-, four- and five-disc versions are available), the highlight nonetheless remains the stunning film itself. Remastered and restored, it remains a testament to a number of creative people whose thinking was simply a country mile in advance of that of their contemporaries. An unmissable purchase. —Jon Foster