The DVD I rented offered me a choice of the theatrical cut, and the alternative version with the original ending that was scrapped after it was unfavourably received at the test screenings. While I really enjoyed the movie this story of two radically different endings is probably its most interesting aspect. The DVD menu made me feel like a character in a fairytale: shall I take the road on the left, or the road on the right? With the magic of the remote, I watched both endings, and once again marvelled at Hollywood’s willingness to ruin a perfectly fine film.
Spoilers for the endings ahead.

A mind-bending Spanish psychological thriller with Penelope Cruz, which later was remade as Vanilla Sky, an ill-received American version with Tom Cruise and, bizarrely, Penelope Cruz again. I’ve watched this in a rather groggy state of mind after a poor night’s sleep, and the movie’s twists and turns definitely perked up my brain by the end of it all.


Another gem brought to my attention by the History Buffs YouTube channel. Directed by Peter Weir and adapted from nautical historical novels by Patrick O’Brian, Master and Commander unfortunately didn’t make enough money to become a series, which is a shame. Maybe the long unwieldy name put people off; as far as terrible film titles go it’s no Mrs Caldicot’s Cabbage War, but unless you’re a fan of the books it doesn’t really sound like an exciting proposition, which is probably why I skipped the theatrical release myself.
Loosely based on a novel by Virginia Wolf, Orlando chronicles 400 years through the eyes of its gender-bending hero/heroine, played by Tilda Swinton. Born in the time of Queen Elizabeth I, Orlando is a young nobleman who becomes the favourite of the aging monarch, and is commanded to never wither and grow old.
I watched this film once 20 years ago, after it swept the 1997 Academy Awards and famously became the object of hatred for Elaine from Seinfeld:
This big-screen version of Stephen King’s 1,200-page doorstopper is not great, but solid enough, and considering the overall woeful track record of King film adaptations, it can be counted as a success.