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Peter Banning (Robin Williams) is a 90's kind of guy, a driven workaholic who spends too much time on his cell phone and too little with his children. He is a premature old fart devoid of imagination or playfulness. Then he and his family return to his boyhood London home to visit Grandma Wendy (Maggie Smith) the philanthropist who took him in as an orphan, raised him and whose granddaughter Maura he married.

On their first night, Captain Hook (Dustin Hoffman) has Peter's children kidnapped. To spur him to rescue them, Grandma Wendy reminds Peter of his long-repressed origins – he is, or was, the real Peter Pan. He refuses to believe this until Tinkerbelle (Julia Roberts) shows up, sprinkles him with pixie dust and, before he knows or in any way approves of what's happening, he's sailing past the second star on the right. In Neverland, Peter must find his original qualities somewhere inside him to win back the Lost Boys and battle Hook for his children and their affection.

Robin Williams gives a performance only he is capable of in this lovely tale of recapturing youth and realizing that the most important things in the adult world really aren't very important at all. If you have no capacity for innocent romance, like some other posters here, you'll hate this movie. If, on the other hand, you consider being likened to Peter Pan as one of life's greatest compliments, you need to get a copy of Hook and clear some time in your adult schedule to reconnect with your own sense of joy and wonder.

Pamela Anderson has appeared in a lot of exploitation television. But, if you look at the producing credits, you realize she's the one doing the exploiting – a vernacular Katherine Hepburn with a boob job.

Stacked is excellently written, acted and directed. The punchlines are every last bit the equal of Get Smart, Green Acres, Night Court, Parker Lewis Can't Lose, Married: With Children, Seinfeld and Scrubs. Elon Gold and Brian Scolaro as Gavin and Stuart, the two nerdy brothers who run the bookstore, and Marissa Jaret Winokur as Katrina, the cute but chubby and insecure girl who tends the coffee counter, are first rate and would stand out on any other series. But here, there talents are matched by Pam as Skyler, the rocker girlfriend who decides to turn over a new leaf; the lady has a first rate sense of comedic timing. Then, as their irascible regular morning customer, throw in Christopher Lloyd, and you have a recipe for a half hour that guarantees a lot of chuckles and at least a half dozen outright belly laughs.

In the pilot, Gavin's bitchy ex-wife comes in to torment him with news of her new boyfriend and is flabbergasted by hottie Skyler pretending to be Gavin's new flame. Non-plussed by Skyler's hands-all-over him familiarity, ex-wifey goes ballistic when she realizes her twelve year old son is so impressed by Skyler – or certain large portions of her – that he's lost the capacity to blink, close his mouth or hear his mother screaming at him that it's time to leave.

A later episode begins with Skyler telling all of her co-workers that she loves them and proceeds to slapstick results, including a long-time unknown admirer of Stuart's coming forward. His mousey little redheaded stalked may be the funniest thing I've ever seen on television.

Some critics of Ms Anderson, may say the lines are a little risqué for TV, but they're no worse than the "But, I've got hand." and reply of "Good, you're gonna need it." or shrinkage discussions from Seinfeld. What they are is unfailingly funny and often totally unforeseen. This is such a welcome relief from hit comedy series whose laugh track is the only way to tell that a joke must have been in the dialogue somewhere. There are only eighteen episodes so far, and already enough dynamite lines for the quotes page herein to require a warning for those of weak heart or with torso stitches.

Best of all, it's one of the shows available on iTunes, so you needn't miss a single minute.

You can do smartass humor or be poignant, but it's tough to do both in the same hour and a half. The only movie I can think of that pulled it off is Mr Roberts.

And then came Shrek, which uses pages from a bona fide book of fairy tales as toilet paper, shows the hero taking a slime shower and has maggots wriggling into place to create words – and that's only through the opening credits. Yet, after all that, and the candle made of ogre earwax and a donkey urinating out a campfire, it still manages the most poignantly beautiful scene ever committed to film as the hero and heroine contemplate their lives without each other to the accompaniment of Leonard Cohen's haunting Allelujah.

Mike Meyers as the title ogre, Eddie Murphy as his talking donkey sidekick, Cameron Diaz as the enchanted princess and John Lithgow as the vertically challenged villain are all brilliant. The script and direction match their efforts. The animation is simply the best ever done (even to the point of replicating the red-point sun reflection off the camera lens as the heroes emerge from a tunnel). Fantasia eat your heart out.

And it isn't just that this is the comedic equal of Arsenic and Old Lace and Young Frankenstein. Or that it is to animation what Citizen Kane was to cinematography. Or that, while creating the greatest of all fairy tales, it lampoons every one that came before it along with the Disney machine that put most of them on celluloid. It's greatest strength is that it's as societally important as Mr Smith Goes to Washington or To Kill a Mockingbird. Not all of us, in fact not many of us, grow up to be swans, and there's not a damn thing wrong with being an ugly duck.

Shrek is irreverently funny in a way that delights everyone from bratty kids to insensitive old farts. It's scenes that attempt romantic beauty are the equal of any classic Disney fairy tale. It's message is the most important ever delivered by any story: no matter who or what you are, there's a place for you in this world and you have a right to be happy being you.