The monsters in Monsters, Inc. are just so incredibly cute—and they know it. Whereas Woody, Buzz and pals in the Toy Story saga were filled with self-doubt about just how much the children in their lives would continue to love them, here our heroic monsters and their impossibly lovable human ward Boo have no such worries, at least when it comes to the cinema audience. And that's why Monsters, Inc., for all its wondrous computer-animated artistry, its smart humour and its family-friendly appeal, doesn't quite capture the naïve charm of its predecessors.

Nevertheless, John Goodman and Billy Crystal, as scare-champions Sulley and Mike, are a great double-act whose comedy never goes over kids' heads but still reaches up to make their parents laugh. The film's central conceit—that monsters in the bedroom closet are just doing a night's work in order to generate power from screams for the city of Monstropolis—is funny and cleverly worked out; and kids will of course love the fact that the monsters are mortally afraid of the very children they are trying to frighten.

The animation is extraordinarily detailed (Sulley's fur is a marvel in itself) and the set-piece action sequences top anything that has gone before for sheer audaciousness. But overall Pixar play things very safe, from the hissable villain to the end credit "outtakes". A bolder film might have taken inspiration from The Nightmare Before Christmas; instead, a little of that Disney disease of knowing cuteness seems to have crept into the formula. —Mark Walker

This Monty Python Movie Box Set contains all four Python movies: And Now for Something Completely Different (1971), Monty Python and the Holy Grail (1974)—the two-disc set—Monty Python's Life of Brian—including a 50-minute documentary—and Monty Python's The Meaning of Life.

Considering the TV series Police Squad managed a mere six episodes, it's no small testament to its qualities that it proved the inspiration for a trio of cinematic hits. And this bringing together of all three Naked Gun films delivers, as the original series did, a belly-load of laughs.

Each is a spoof, very much in the spirit of the original Airplane (unsurprising, as the same people are involved), with the focus this time being on Leslie Nielsen's Lt Frank Drebin, a well-meaning yet chaotic detective who, along with George Kennedy's Capt Ed Hocken, O.J.Simpson's Nordberg and Priscilla Presley's Jane finds himself with crimes to solve, and nothing but sheer ineptitude to help him.

The plot in each movie clearly takes a back seat, as each film is an exercise in throwing as many gags at the wall and hoping they stick. The hit rate in the first of the three is high enough to genuinely warrant it being a modern day comedy classic, with clever sight gags and more elaborate sequences keeping the chuckle count high and constant. Neither sequel gets close to it, but both do have their moments too. Crucially, as none of the films outstays its welcome, thanks to their relatively brief running times, each emerges as an enjoyable, joyfully silly and frequently funny comedy, set to be enjoyed time and time again.—Simon Brew

Like a Hardy Boys mystery on steroids, National Treasure offers popcorn thrills and enough boyish charm to overcome its rampant silliness. Although it was roundly criticized as a poor man's rip-off of Raiders of the Lost Ark and The Da Vinci Code, it's entertaining on its own ludicrous terms, and Nicolas Cage proves once again that one actor's infectious enthusiasm can compensate for a multitude of movie sins. The contrived plot involves Cage's present-day quest for the ancient treasure of the Knights Templar, kept secret through the ages by Freemasons past and present. Finding the treasure requires the theft of the Declaration of Independence (there are crucial treasure clues on the back, of course!), so you can add "caper comedy" to this Jerry Bruckheimer production's multi-genre appeal. Nobody will ever accuse director Jon Turtletaub of artistic ambition, but you've got to admit he serves up an enjoyable dose of PG-rated entertainment, full of musty clues, skeletons, deep tunnels, and harmless adventure in the old-school tradition. It's a load of hokum, but it's fun hokum, and that makes all the difference. —Jeff Shannon, Amazon.com

After years of enduring Roger Moore in the role of James Bond, it was good to have Sean Connery back in 1983 for Never Say Never Again, a one-time-only trip down 007's memory lane. Connery's Bond, a bit of a dinosaur in the British secret service at (then) 52, is still in demand during times of crisis. Sadly, the film is not very good. In this rehash of Thunderball, Bond is pitted against a worthy underwater villain (Klaus Maria Brandauer); and while the requisite Bond Girls include beauties Kim Basinger and Barbara Carrera, they can't save the movie. The script has several truly dumb passages, among them a (gasp) video-game duel between 007 and his nemesis that now looks utterly anachronistic. For Connery fans, however, this widescreen print of the Irvin Kershner (The Empire Strikes Back) film is a chance to say a final goodbye to a perfect marriage of actor and character. —Tom Keogh

Everything you know about aliens from pop culture is true. At least that's the message from Paul, a swift, sharp, and very funny movie from the creative minds that also brought us Shaun of the Dead, Hot Fuzz, Superbad, and Adventureland. The British stars of the first two, Simon Pegg and Nick Frost, also wrote the snappy screenplay, and director Greg Mottola shows that he can make human and sentimental both the slapstick and the subtle, self-referential humour the same way he did in Superbad and Adventureland. The premise Pegg and Frost have laid out for themselves as likable, sci-fi fanatic supernerds is a dream vacation starting at Comic Con, then continuing through the American Southwest in an RV visiting historic UFO sites like Area 51, the Black Mailbox, and Roswell, and finishing up at Devil's Tower in Wyoming, the iconic centerpiece from Close Encounters of the Third Kind. After their inauspicious start, they happen upon an escaped alien who is 4 feet tall, and has the big head, classic diamond eyes, and features we've come to recognize as both the benevolent and evil kinds of space aliens from movies and TV. He is also the titular character, and as voiced by Seth Rogen, this CGI creature spouts a never-ending string of wisecracks, insider secrets, and frat-boy humour that comes loud and clear as classic Rogen in tone and attitude. As an aside and terrific example of the very clever throwaway punch lines that run throughout, there's a brief flashback to 1980 showing Paul on a conference call with Steven Spielberg (really), giving him advice about script development issues for E.T.

Paul crash-landed in the late 1940s and has been held prisoner by the government's men in black. They've not only been pumping him for knowledge, they've also leaked the fabric and features of his being to people who want to believe, especially the ones in Hollywood. Now Paul wants to go home, and he's found the perfect getaway with the want-to-believe team of Graeme (Pegg) and Clive (Frost), who take him to his rendezvous (at Devil's Tower, of course). The road movie that unfolds is consistently hilarious, moving nimbly through one-off gags and inside jokes, but also creating larger relationships and drawn-out humour that relies on us believing that the little CGI Paul is real. And mostly we do, again thanks to Rogen's delivery and distinctive vocalizing. Paul constantly quips, makes fun, gets drunk, smokes dope, and spouts a steady stream of patter about how aliens have been bowdlerized and reimagined in entertainment and the minds of people like Graeme and Clive. There's a jam-packed supporting cast that complements and complicates the story (in a good way), including Bill Hader and Joe Lo Truglio as the bumbling men in black, and Jason Bateman as the scary man in black. Also passing through are some fun familiar faces like Jane Lynch, David Koechner, Jeffrey Tambor, John Carroll Lynch, and an iconic sci-fi actress who shall remain unnamed. Especially good is Kristen Wiig as a fundamentalist Christian whose mind is literally blown by Paul. Amid the broad humour and nonstop punch lines there's also a sweetness that stays with each finely drawn character (including Paul) and gives Paul an amiable sentimentality that runs throughout. Everyone clearly had fun making this movie, and that's exactly how it is to watch. —Ted Fry

Pixar's unprecedented string of hit animated features was built on the short films in this collection. John Lasseter and Ed Catmull used these cartoons the way Walt Disney used the "Silly Symphonies" during the 1930s: as a training ground for artists and a way to explore the potential of a new medium. Although it's only 90 seconds long, "Luxo, Jr." (1986) ranks as the "Steamboat Willie" of computer animation: For the first time, audiences believed CG characters could think and feel. (It was also the first CG film to make audiences laugh.)

When the artists began work on Toy Story, they had learned so much from the shorts, they were ready to undertake that landmark creation. In the later shorts, the viewer can see the artists continuing to experiment: with a more realistic human figure in "Geri's Game" and with new ways of suggesting atmospheric effects in "Boundin'." Some of the more recent shorts continue the adventures of the characters from the features. "Jack-Jack Attack" reveals what happened to the hapless baby-sitter while the Incredibles were off fighting Syndrome, while "Mater and the Ghost Light" shows that life goes on for the inhabitants of Radiator Springs. When Sully from Monsters, Inc. tries to adjust his seat in "Mike's New Car," the animators prolong the moment to wring every drop of humour from the situation—just as an earlier generation of animators milked Wile E. Coyote's antics for all they were worth. The long-unseen films for Sesame Street are an unexpected bonus. A delightful collection of entertaining shorts, and a significant chronicle of the growth of computer animation. —Charles Solomon