Roger Moore was nearing the end of his reign as James Bond when he made Octopussy, and he looks a little worn out. But the movie itself infuses some new blood into the old franchise, with a frisky pace and a pair of sturdy villains. Maud Adams-who'd also been in The Man with the Golden Gun-plays the improbably named Octopussy, while old smoothie Louis Jourdan is her crafty partner in crime. There's an island populated only by women, as well as a fantastic sequence with a hand-to-hand fight on a plane-and on top of a plane. The film even has an extra emotional punch, since this time 007 is not only following the orders of Her Majesty's Secret Service, but he is also exacting a personal revenge: a fellow double-0 agent has been killed. Two Bond films were actually released in 1983 within a few months of each other, as Octopussy was followed by Sean Connery's comeback in Never Say Never Again. The success of both pictures proved that there was still plenty of mileage left in the old licence to kill, though Moore had one more workout-A View to a Kill-before hanging it up. And that title? The franchise had already used up the titles to Ian Fleming's novels, so Octopussy was taken from a lesser-known Fleming short story. -Robert Horton, Amazon. com On the DVD: The high standard of these 007 discs is maintained here, with another extra-packed selection. [+]

William Wyler directed this epic Western, about the clash of East and West, intellect and action. Gregory Peck stars as a sea captain who moves way out West to marry Carroll Baker and become part of the ranch owned by her father (Charles Bickford). But he discovers that daddy's top hand (Charlton Heston) carries a torch for Baker and doesn't particularly like Peck stepping into his place. Peck also finds himself caught in the midst of a power struggle between Bickford and his surly neighbour, Burl Ives (and his reprehensibly bullying son, Chuck Connors). The Big Country is a long, sprawling tale that works because its characters are played by movie stars who know how to command the big screen in a big story. -Marshall Fine.

kris kristofferson,marisa berenson. set in the Comoro Islands where a cop in search of his daughter must also face a tropical storm to survive.

John Milius charts a decade of social change as three surfing buddies use the sport as a personal touchstone for their lives whilst growing up in the turbulent 1960s. Irresponsible hot-dogging legend Matt (Jan-Michael Vincent),serious and stable Jack (William Katt) and mad misfit Leroy, aka "Masochist" (Gary Busey), are teenage surf bums in 1963, living at the beach in a perpetual summer under the sway of surfboard-maker Bear (Sam Melville), guru, mentor, and keeper of the lore. But times are changing and boys grow up in the shadow of Vietnam while adulthood pushes them into hard decisions. John Milius mixes the nostalgia of American Graffiti with the reverence of a John Ford cavalry drama. Surfing becomes a kind of spiritual quest spoken of in awed mythic tones and photographed with the epic grandeur of a rite of passage. Milius's heavy-handed direction andr everent attitude slows the films and will turn off some viewers but Milius fans will appreciate his macho stylings and philosophical musings, and surfing fans will love the spectacular surfing footage, including the dazzling stylings of world champion Gerry Lopez (who Milius later cast in Conan the Barbarian). Lee Purcell costars as Matt's supportive wife, with Patti D'Arbanville, Barbara Hale and Robert Englund in supporting roles. Look for Ford stock player Hank Worden in a small role and Milius himself in a cameo role selling marijuana in Tijuana. -Sean Axmaker John Milius charts a decade of social change in Big Wednesday as three surfing buddies use surfing as a personal touchstone for their lives while growing up in the turbulent 1960s. Irresponsible hot-dogging legend Matt (Jan-Michael Vincent), serious and stable Jack (William Katt), and mad misfit Leroy, aka "Masochist" (Gary Busey), are teenage surf bums in 1963, living at the beach in a perpetual summer under the sway of surfboard-maker Bear (Sam Melville), guru, mentor, and keeper of the lore. [+]

During the Civil War, Union "Redlegs" attack Southerner Josey Wales's dirt farm and wipe out his family. Seeking vengeance, Wales throws in with a company of Reb guerrillas. Tagged as a renegade after the surrender, he flees west into the vastness of the Indian Territories, where, quite unintentionally, he finds himself cast as the straight-shooting paterfamilias of an ever-growing, spectacularly motley community of misfits and castaways. Which is to say, Josey's personal quest for survival and something like peace of mind evolves into a funky, multicultural allegory of the healing of America. The Outlaw Josey Wales (1976), Clint Eastwood's 31st film as an actor, 20th as international star, and 5th as director, was the first to win him widespread respect. Critics had grumbled when the producer-star replaced Philip Kaufman (The Right Stuff) in the director's chair a week into shooting. They ended up cheering when Eastwood delivered both his most sympathetic performance to date and-with the heroic collaboration of cinematographer Bruce Surtees-an impressive Panavision epic that stresses the scruffiness, rather than the scenic splendours, of frontier life. Though it's been honoured with a place in the National Film Registry, Josey Wales is good, not great, Eastwood. The big-gun fetishism can get tiresome, and too many characters exist only to serve as six-gun (and at one point Gatling gun) fodder. But mostly the film is agreeably eccentric, and almost furtively sweet in spirit-a key transitional title in the Eastwood filmography, and one of his most entertaining. [+]

While it offers nothing new to the military-action genre, Tears of the Sun distinguishes itself with fine acting, expert craftsmanship and seriousness of purpose. Its familiar "extraction mission" plot is essentially similar to that of Black Hawk Down, involving a crack team of US Special Ops commandos struggling to rescue innocent missionaries amid the bloody horror of Nigerian ethnic cleansing. With Bruce Willis as their grizzled, no-nonsense commander, the skilful team enters a hot zone that gets even hotter when their "package"-an American national (Monica Bellucci) who runs the isolated mission-demands that 70 Nigerian villagers be included in the rescue. Willis's uneasy conscience leads him to defy orders and expand his mission, and in an ambitious follow up to Training Day, director Antoine Fuqua escalates tension and strike-force with considerable emotional impact. Originally considered as a potential entry in Willis's Die Hard series, and released in cinemas on the eve of America's war with Iraq, Tears of the Sun admirably avoids jingoism with its rousing story of personal good vs political evil. -Jeff Shannon.

The Matrix Reloaded delivers added amounts of everything that the first film had, with the exception of surprises. We see more of the "real world" in the "last human city" of Zion and we go back to the 1999-look urban virtual reality of the Matrix for more encounters with artificially-intelligent baddies and-the real reason you've turned up-a lot more martial arts superheroics. The downside is that this is just part one of a two-pack of sequels, with Revolutions required to tie up the story and sort out a great deal of plot confusion. There are other problems: none of the stars have much good material to work with outside the fights and stunts, which makes the film sorely miss the mix of science fiction thrills and character interplay of the original instalment. However, the Wachowski Brothers still deliver more than enough stand-alone instant classic action sequences to make you ignore their duff script: in particular, Reeves and Hugo Weaving square off in a rumble that gets dicey, as more and more identical Weavings come out of the woodwork to pile on the lone hero; and a full quarter of an hour is devoted to a chase through the Matrix that lets Laurence Fishburne shoulder the heroic business. A last-reel encounter with a virtual God, the architect of the Matrix, finally delivers some major plot advances, but the scene is so brilliantly shot and designed-with Reeves framed against a wall of TV screens that show multiple versions of himself-that it's easy to be distracted by the decor and miss the point of what's being said. -Kim Newman On the DVD: The Matrix Reloaded two-disc set amazingly has very little in-depth stuff on this physically impressive movie; there's not even a commentary track. Perhaps the Wachowski Brothers want to keep their enigmatic aura, or perhaps there's a better DVD coming after the trilogy ends? Best here is the 30-minute feature on the incredible freeway chase: here you get the inside scoop on how the titanic 12-minute sequence was put together. There's plenty of material on the second disc, but it's just filler, with the actors talking about how great it is to work again with the Matrix team and plenty of quick edits of explosions and other "cool" things. There's a segment on product placement, 30 minutes on how the video game was created and the MTV Movie Awards parody. [+]

After a nine-year break from the genre that made him an international star (the Western just before this one was The Outlaw Josey Wales, from 1976), Clint Eastwood returned in this gritty Western, crafted in the tradition of Shane and High Noon. Eastwood directed and starred as the nameless stranger known only as "Preacher," because he rides into a beleaguered mining town wearing a clerical collar. He's either an agent of death or an angel of mercy, and the echoes of Shane ring loud and clear when he comes to the aid of independent miners who are being terrorized by a local tycoon (Richard Dysart) and his ruthless band of hired guns. Befriended by a miner (Michael Moriarty) and idolized by the miner's wife and daughter (played by Carrie Snodgress and Sydney Penny, respectively), the "Pale Rider" sparks the defiant spirit of the underdog miners and takes after the bad guys with single-minded purpose. -Jeff Shannon.

Despite its manipulative grandiosity, this film is completely irresistible, for several reasons: it recounts the greatest air battle in history, creating the greatest aerial battle scenes in film history; it has a terrific cast (Harry Andrews, Michael Caine, Trevor Howard, Curt Jurgens, Laurence Olivier, Nigel Patrick, Christopher Plummer, Michael Redgrave, Ralph Richardson, Robert Shaw, Patrick Wymark and Edward Fox); and it's technically very well made, thanks to the Bond team of producer Harry Saltzman and director Guy Hamilton and the great cinematographer Freddie Young. -Bill Desowitz.